Flanfire

2009-04-19T09:58:00.002-06:00

CATCH FLANFIRE AT AN ALL-NEW LOCATION!

THIS IS AN IMPORTANT ANNOUNCEMENT FOR ANYONE WHO IS LOOKING FOR THE FLANFIRE REPORTS ON AUSTIN MUSIC. SINCE NOVEMBER 2008 WE HAVE BEEN POSTING AT

www.flanfire.com

YOU CAN ALSO CHECK OUT SOME VIDEOS WE HAVE SHOT AT

www.youtube.com/flanfire

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Flanfire -- Bringing LIFE to Austin music.

2008-11-22T13:22:00.015-06:00

Future Wardrobe Summer Clouds?
My good friend Jonny Sanchez (who tunes my piano!) I first met as a founding member of Future Clouds and Radar -- and about the time the Summer Wardrobe's first record was being released. Recently I saw Robert (with Darin Murphy at the Mohawk) and Jonny (old FC&R photo from Ego's) playing on the same night for the first time in years -- but of course at different venues! Both of these creative guys have new records out with their bands, so it only makes sense to review both at the same time.

Future Clouds and Radar -- Peoria
There may be little more to say about the FC&R record, given the amazing writeup for the band in a recent Austin Chronicle -- but suffice it for me to say that Robert initially brought together a bunch of highly talented individual players and just let them grow into their roles in this band such that the sound has evolved organically over time. When Jonny left to focus on the Wardrobe, Robert just took over the lead guitar work. Josh Gravelin has given way to Joshua Zarbo who seems to have a light turned on as he plays his lines. Murphy took a brief leave of absence (I recall one night seeing Nina Singh on drums) but is back with his great voice and steady beat -- and the beautiful (and preggers) Hollie Thomas continues to bring that same mystique to the keyboards that I recall from her Halloween performance at the American Legion Hall a couple of years ago. Kullen Fuchs shows up when he can to add ambience (that is, trumpet, various keyboards, accordian, and whatever fits the mood).

To the fray. On the surface, the lyrics here speak of mortality -- the Chronicle's Austin Powell says the album brings "into question the worthiness of mortal accomplishment and mainstream acceptance." He also shows us a possible why -- Harrison's break from live music after the demis of his former band Cotton Mather. How can you live when your music, your very soul, is smothered or, worse, ignored? What makes your life worthwhile -- the recognition by others of your contribution, or is the experience of co-creating with the Eternal One enough?

"The Epcot View" -- "this dream's a self-made light show where some dark prince shall exhort us into battle licking the bones of his very last foe..." We are talking here again about the thane of transcendentalism whose house studio (the Star Apple Kingdom, same as the record label) is Harrison's version of Walden Pond. Old Edmund Ruffin is a real historical figure -- an ardent supporter of secession who took his own life after the war ended. Harrison grew up in Alabama (aka the Heart of Dixie) ... at a time when the longing for the Old South was still passionate. Or, in other words, if the product of our life is meaningless (or even negative?), what then do we do next? Thankfully, Robert's answer was to get up and get going again.

And why not? "Feet on Grass" suggests that, "they're gonna round us up and embezzle the loot, throw every model citizen under the jackboot -- and they'll shoot!" [Can anyone say, Ohio National Guard?] You have to resist the death culture! "Mummified" is a powerful description of the frustration of creation not recognized -- "beneath the ground, but I'm alive, I see you and I'm mummified." And, yes the music has an Egyptian flavor. "18 Months" continues the theme -- "I spent 18 months buried alive...." But the energy has returned, and you know we are talking past tense .. as he urges us to "feel my breath, join my fight." Anyone thinking of giving up? Play this record and dance all night to it -- this is good therapy. The anti-Jim Morrison.

"The Mortal" is a warning -- "the bereaved were so praised that idols were made and we all crawled like dogs straight from cradle to grave." Rather, we should "let each kingdom crumble until the one will shall be done .. that's the work, that's the real work." And the music here is a solemn march -- that extends into track 7. "Follow the Crane" is Robert talking to himself, "You're back. You took a break, follow me down right past the world right to here, a home where love can never sleep." And so he did -- and we are all enriched by that journey.

Now I got down to the Saxon for the band's CD release party and saw them again this week (without Kullen) at the Mohawk. Both sets were awesome -- and the band opened for Alejandro Escovedo at Antone's this week as well. Lots of songs from the double album from two years back that was so well received -- and I still kick myself for missing the show with the Tosca strings and East Side Horns and who knows what all else (at the Parish). Whenever you need to get outside the drudgery of everyday and remember your dreams, go see Future Clouds and Radar -- and tip the band extra well. They are MUCH cheaper than your shrink!

The Summer Wardrobe - Cajun Prairie Fire
Hidden in the crevices of the CD jacket to Cajun Prairie Fire is a tall tale of the Cajun Ocotillo Sundown and his travails and travels out west from the land of crawfish. There is real truth somewhere within these stories, and yet the discovery is less important than the music itself. Jonny Sanchez and his bandmates -- Marty Hobratschk (bass), George Duron (drums), and John Leon (pedal steel) once again have brought joy to the hearts of their fans with eight songs straight from Jonny's own journey [including a well placed cover of Roky Erickson's "Mine, Mine Mind"]. Mark Addison is also back as producer, and on occasion live (as for example at Lovejoy's one fine October night) one might find Kullen Fuchs or Claire Hamilton joining the band to liven up the sets. I have even see Addison himself on stage (at a most memorable show at Ruta Maya when Leon was otherwise engaged).

The combination of Sanchez's own guitar virtuosity and Leon's flexibility on the pedal steel join to create a unique sound -- with lots of reverb, lots of crescendos, and lots of bravado. Now the band has been playing most of these songs for quite a while -- and so for me the CD itself has some familiarity. But this music just does not get boring -- or old. I mean - "Baby Let's Switch Graves" and "When You Died" -- this is after all an imagination up there with that of the afore-mentioned Robert Harrison. And just as serious a guy underneath it all. Every Wardrobe show is a blast -- and one may wonder whence the lion and the witch.

"Highs in the Mid-90's" IS new for me -- gritty and rough, with the line "good wasn't good enough" to get us thinking. Over six minutes long, much of which is blazing guitar! "Ocotillo Sundown" is as smooth as silk, with lots of pedal steel, as Jonny sings that "everything revolves around the hammer and the sickle" (see liner notes). "Cajun Prairie Fire" is luscious, psychedelic music, with Duron's drums creating lots of space for the twin leads -- and what leads! "Is this a dream? Is this a lie? (followed by another one)? Is this the end?"

Gotta quickly mention the artwork on the jacket -- by Victoria Renard (who also took the photos for the band). Lots of symbolism -- some palm reading notes included. "Graves" is like New Wave power pop with a driving beat and very singable lines that you can dance to (while switching graves, what better than to dance on them?). I think David Bowie would want to cover this one. "Venus of the Merchant Marine" is also new to me -- starts off as a march (amazing how both these bands are feeding off the same themes while being so distinctly different at the same time). Lots of power chords make this a very rich number -- with a pungent lead line as the chorus (who needs words?). I am thinking velvet cream cake. With sorbet or better yet, gelato. And espresso. And moonlight.

The subtle shift into "When You Died" leads to an opening shocking statement -- just who are we talking with here? By this time, of course, who cares what Jonny is singing about -- you are so mesmerized by the music. But then again it IS Elevators music -- 6-1/2 minutes of pure acid rock. And after all, Jonny and the guys DID serve as Roky's backing band for the past year or so (including last Halloween in Hollywood). "One Longtime Feeling" opens with Jonny on acoustic guitar and nothing else, adds quiet drums, and then the pedal steel (and a subtle bass) -- this is the song with the best connection to Sparkle and Fade and the feel of the band's debut CD. You will have to buy the CD and read the liner notes (sorry, guys, downloading will just not do!) to get the band's own take on this song and its relationship to the saga of Ocotillo Sundown the Cajun revolutionary ... but all the clues are in the song itself and its impact on our souls.

The Flanfire Follies

Okay -- with these two fun recordings finally reviewed, I can mention a few of the shows I have seen of late -- not including the amazing sets from Drew Smith and Suzanna Choffel at Lambert's on Friday the 21st (more on those next time). I hardly remember the order of things here, but let's start with Carrie Elkin, whom I ran into at the Hilary York Revue at the Continental a week or so back. Carrie brought pals Robby Hecht (with guitar) and Danny Schmidt to join her onstage with Mark Addison and Mark Williams at Momos -- it was great fun.

Then there was this Saturday at Momos when I actually went to see Warren Hood -- and found out he has been fortunate enough to win the services of Corey Keller on drums and the amazing Emily Gimble (Johnny's granddaughter) on keyboard and super vocals. Emily has been playing with the Marshall Ford Swing Band of late -- but from the first time I heard her sing I was hooked! Willie Pipkin blew me away with his guitar licks, and Nate Rowe was solid as ever, as was sax player Jon Doyle.

Earlier that same evening I had been at the Amsterdam Cafe (I love this venue!) to see Elizabeth Wills (left) and HER band and my good Kiwi friend Jackie Bristow -- and both women were just fantastic! Jackie, who lived for years in Sydney and for a time in Lost Angels, just relocated to Austin and has already played the One World Theatre twice! She's top notch -- and fun, too! Elizabeth was on the bill for the ACL Fest this year and decided that Austin was a nice town to live in even if you are on the road a lot (as she certainly is).

I COULD post yet another photo of Dustin Welch, but why -- when instead we get his lovely sister Savannah and the cutest couple on stage together in Austin, Joe Beckham and Trisha Kiefer. And, yes, that IS Rob Hooper on drums (and of course joining Dustin in song was the effervescent Andrew Smith). This was the very first show I have heard with the Continental's vaunted new sound system -- and I will wait awhile to share any opinion, knowing how hard it is to tweak a room with old toys, much less new ones.

Another Thursday, another great night of music. First off was a quick stop at Austin Java for the songwriter showcase run by Jim Patton and Sherry Brokus -- here's Patterson Barrett with Julieann Banks on bass. Every third Thursday -- and the December lineup is always amazing! Then it was over to Momos to catch the wonderful Will T. Massey with his all-star band -- Richard Bowden on fiddle, Marvin Dykhuis on acoustic guitar, Mark Addison on bass, and the extremely gifted Mike Meadows on percussion -- plus a couple of visits on stage from Sally Allen (whose own debut Austin record, produced by her handsome hubby, should be out early in 2009). And as I said, I later that evening migrated down to the Mohawk -- and you know the rest.

Flanfire -- Bringing LIFE to Austin music.

2008-11-17T02:26:00.012-06:00

Hilary for President!

I got to know Hilary York when she and Aimee Bobruk were hosting a songwriter showcase at the Scoot Inn. I have seen Hilary and her sultry alto voice numerous times -- and have never been disappointed. But I had NEVER seen this blonde bombshell with a full band until last week at the Continental Club at a show she put together that also included sets from Claire Hamilton and The Breathers and Li'l Cap'n Travis.

It is little wonder that Hilary (playing duos with the likes of Joe Reyes and Kullen Fuchs) has been such a hit at the Driscoll -- she's Julie London all over again. [Wikipedia describes London's voice as "slow, smoky, and sensual," and Hilary too is as gorgeous as that World War II pinup girl!] Her last record, "The Moon," was done in part in San Antonio with that nefarious bunch of characters known as Buttercup [and in part in Austin with the equally nefarious Mark Addison the star maker].

At the Continental, her band included Fuchs (on Wurlitzer and trumpet), Reyes on lead guitar, Zachary Firnhaber on bass, Clay Fain on drums, and the wonderful Julie Lowery (whose band The Service Industry has a CD release at Emo's on November 28th) on harmony vocals. The truth is I was having too much fun to write down anything about the set list, but it is impossible to forget "Parlour Tricks" The party level jumped up considerably when Hilary's go-go dancers jumped up on the stage (see photo) -- and yet the highlight of the evening may have been later when Jeff Johnston and Li'l Cap'n Travis encouraged Hilary (and Kullen) to join in on "Wichita Lineman." Hilary was simply radiant .. we MUST have MORE of Hilary with a full band.

As for the Breathers, my introduction to Claire Hamilton was through Eldridge Goins, who produced the band's 2003 album, "Work and Sleep." But that was with an entirely different band (Landis Armstrong on guitar, for example) -- these days Claire has the Gary Newcomb Trio (with Billy Doughty and Brandon Gonzalez) with Gary playing his Fender, not his pedal steel -- and blowing away an audience full of guitar players. Claire and the boys did songs from their 2006 CD, "I'm Still Curious," and some newer songs, including my favorites "One Is One" and "1,000 Million." Good Grief! PLEASE play more gigs and get some new product out!

I have to mention Blues Mafia, playing in the wind at Nuno's North (just look at Sasha's hair!), getting ready for their Ireland trip, and the B Sterling Band, with some new members, rocking the house at the Carousel. Mister Archer may be the tallest lead singer in Austin since Luke Axtell -- but there are OTHER reasons to look up to him. I also got out to the Hole in the Wall the other night for Leo Rondeau -- who FINALLY has a fiddle in his band! And it's not Missy Beth (shown here with Izzy Cox, with whom she will be playing some shows at the Carousel and at Beerland on November 18th). What a hoot THAT will be -- the queen of the murder ballad joined with Alaska's gift to fun and frolic!

Flanfire -- Bringing LIFE to Austin music.

2008-11-09T23:06:00.014-06:00

Austin Pops: Great for Moms Too!

I owe a HUGE debt to my pal Ulrich Ellison (shown here with electric guitar) for turning me onto a ticket to the Austin Pops concert at River Bend Center that also featured (Sir) John Mills, Ruby Jane Smith, Leah Zeger, and the rest of the great orchestra that founder and conductor Jamie Desautels has put together (including Chris Maresh on electric bass).

This was also my very first visit to the Riverbend Center -- one of the finest venues I have seen in years. Just WOW! [Okay -- it is a LONG way down from the entrance to the front row.] The acoustics are amazing, and of course the stage backdrop is stunning. This "In the Mix" show, which featured original songs from Mills, Ellison (the debut of Glorious Heights), and Zeger and Desautels (Just in Time and Can't Go Wrong) plus arrangements of classics Layla and November Rain and a bunch more. Note that Leah did not even bring her violin/fiddle to Riverbend -- this is a photo taken at a Hudsons show a week earlier (see below). Austin is SO blessed with young, beautiful jazz/pop singers, but Leah may be the only one who has a degree in opera performance -- and who can play a mean fiddle too!

Ruby Jane's four-song set (yes, our girl now has a pretty dress as she nears her 14th birthday) had her jousting with orchestra soloists and (as usual) getting the audience involved. The (Texas-born) Mississippi Fiddler jammed with concertmaster Shana Bey (shown above with Ellison) on "Carroll County Rag" as her jazz fiddle teacher Martin Norgaard looked on from his Violin II post; she got the horn section involved (especially Ron Wilkins on the tuba, Mills, and trumpeter Rich Haering), and kept Maresh, Ellison, drummer Rob Casaneau (like Desautels, a native Canadian), and percussionist Laura Mordecai (whose hubby Mike is also in the ensemble) busy with numbers from Bob Wills, Hank Williams, and Johnny Cash.

The Austin Pops has two more shows this season in its "Live Music Legacy" series -- on February 7 (Newbies and Oldies, featuring Daniel Stokes of the Flatcar Rattlers) and May 23 (Fiddles & Folk, featuring Phoebe Hunt). Check out their website for updates - and if you have a few bucks, get out to a show sometime.

I did I did also see Leah with Hudson Mueller and Brian Hudson the night before Halloween (hence the Hudsons' amazing outfits); Aaron Starr aided on harmonica and vocals on a couple of songs and later demonstrated another of his many talents. That same evening I got out to Lambert's to see New Zealander Jackie Bristow (who is living here for the next 6 months or so) and Australian Kara Grainger (one of my very favorite people anywhere). I felt really bad that the "best" Kara could do for a band was Chris Maresh (there he is again!) on bass, Brian Austin on drums, and Jake Andrews on guitar (sharing licks with Kara who is hardly a slouch!). I could have posted action shots but opted to show just how much Jackie and Kara enjoyed the boys in the band -- especially when Chris sang "Diamonds."

For the REAL Halloween, I was very fortunate to get out to the Compound (E. 4th Street) to celebrate All Hallows Even with T-Bird and the Breaks, who all showed up as hobos in contrast to their normally suave attire. Phoebe and Stephanie Hunt were all decked out as orange flowers, and there were costumes all around. Amazingly, Alaska Governor Sarah Palin (!?) showed up to promote her appearance on Saturday Night Live. There were to be prizes for the best costumes but I cut out a little early and did not find out who won -- my vote would have gone to Fidel Castro (no photo for security reasons!) and the Zombie Bride!

Late Friday, I stopped by Ringside at Sullivans (which oddly closed up at midnight?) to catch a set and a half from Wendy Colonna and her fabulous band -- Chad Hot Rod Pope on guitar, Dave (beardless) Madden on piano, Leslie McCurdy on bass, and Brandon DeMaris on drums. Wendy and the boys really had the crowd going -- and then Ginger Leigh showed up, and it was Ladies Night until the manager unexpectedly pulled the plug. Ginger has a great new video out promoting her nomination for the position of Texas State Musician (currently Shelley King) -- check it out at her site, www.gleigh.com .

All great music -- and yet my PERSONAL favorite night of the past two or three months had to be last Thursday (when I forgot my camera and thus have NO photos to share). Started off with half a set at Flipnotics from the Fundamentalists (all five members on one little stage!) -- that's Brennen Leigh, Silas Lowe and company. Then it was over to the Saxon Pub to catch MOST of Sunny Sweeney's wonderful set -- gotta love that woman, AND her new guitarist Cole Rich (and yes, he is kinfolk to Charlie Rich).

But all that was just the warmup for the rest of the night! A CD release from Robert Harrison and Future Clouds and Radar (with Hollie Thomas, Darin Murphy, Kullen Fuchs, and Joshua Zarbo) -- and a great set at the Saxon. THEN, thanks to a beautiful, mysterious redhead, I motorvated over to Lovejoys to catch a set (and a new CD) from the Summer Wardrobe -- and got an even MORE unexpected bonus -- Sally Crewe and the Sudden Moves, compleat with appearances from Sally's folks -- all the way from England -- and George Duron's lovely mom. AND Sally's forthcoming CD, which she will release in January after a December tour of England. Sally's Sixties power pop (with a twinge of punk?) is good stuff, and Sally herself just infects you with her exuberance and energy. Just being around her cures any case of the blahs!

Okay, already -- you will have to WAIT for my reviews of all three of these recordings! But you can catch Future Clouds live at Antone's on November 21, Sally at the Mohawk on November 20 (with Golden Bear, Leatherbag, and the eclectic Ethan Azarian), and the Wardrobe on November 28th at Emo's. But why wait for fun? The Breathers (yes, Claire Hamilton sings on the Summer Wardrobe record and actually got on stage at Lovejoys with the band!) have a show at the Continental with Li'l Cap'n Travis and the sultry Hilary York on November 13th. And let it not be missed - The Service Industry has a new record, "Keep the Babies Warm." out November 18.

Finally, to the theme of this puzzle -- note the afore-mentioned moms of Sally and George. But today we are talking about Ruby Jane Smith and her enterprising mom Jobelle -- but also about Jobelle's own mom Honey (and her dad, too), whom I met at Waterloo on 38th on Friday at the Ruby Jane Show -- on Honey's actual birthday. We all got a piece of the birthday cake that Jobelle admits not to making herself -- and my Mississippi mother was thrilled to meet people who knew her Jackson so well. Best of all, we got to hear Ruby Jane pick and sing with David Carroll on bass, Marvin Dykhuis on acoustic guitar (is there ANYBODY better?), and the handsome (just ask Phoebe) Willie Pipkin on electric and acoustic guitar. And, yes, Phoebe herself got on "stage" for a few numbers, notably "Blue Skies."

Gotta go -- catch some Z's so I can get out to see Leo Rondeau and Joanna Barbera and HER new band at the Hole in the Wall on Monday! And just remember -- dance like you would if nobody was watching! And, yes, folks, that's A. J. Vincent tickling the ivories at Momo's the other night -- and, yes, I did see some other music that I liked but am not writing about here.

Flanfire -- Bringing LIFE to Austin music.

2008-10-26T22:07:00.011-06:00

Someone Old, Someone New,
Someone Borrowed, and No One Blue!

Tahni and Emme Lou

This week's Austin Chronicle features stories on Austin's young musical talent (the under 18 set). Flanfire, meanwhile, has been tracking the career of an even YOUNGER future star, Emme Lou Handal -- and earlier this week the 8 year old singer and actress blew away an audience ostensibly at Stubbs' to hear songs from her mom Tahni's (here on piano, but usually on electric guitar) new CD. Emme Lou, who last summer was a featured performer at the Zachary Scott's Summer Theatre Camp, calmly went back to her normal child's life after her too-short performance -- and yet you can tell from her swagger on stage she's already a pro.

Mom Tahni, meanwhile, has a new record -- To Kiss You -- that is the best of the three she has done since moving to Austin with Emme Lou and her faithful dog Annie six years ago (has it been that long?). Her first record, done with Woody Russell, was sweet Americana; her second, produced by Dony Wynn, was dramatic and intense. This record is just first-rate American pop -- produced by Kelly Donnelly (who is currently working with Eric Johnson) and featuring John Lockhart and Bobby Mack on guitars, Stewart Cochran and Mark Goodwin on keyboards, Vance Abeyta and Donnelly on bass, Kevin Hall on drums, and Brian Andrew Lee, Korrinne Billiat, Tina Allen, Mark Chandler, and Jayson Hoyt on backing vocals.

Tahni as a teenager was lead guitarist in an all-girl metal band that hung out with the likes of Ratt and Poison (and some bigger names as well). She still has her chops, but left the lead playing at her CD release to Julius Manno (once named Austin's best guitarist by Z-ROCK); Abeyta held down the bass, Cochran was on keys, and Sam Pulley played the drums. "Shooting for the Moon," the first cut, is a remake of an older Tahni song about moving to Austin, but with a new twist. The title track is a gentle ballad about seeking a new and deeper spark in an old flame -- as "I'm running out of time, and I miss you oh so bad, what I wouldn't do to kiss you."

"Roll the Dice" is the rockiest cut here -- features a heckuva guitar solo! "Been a loner all my life, that's the way it is...." "For the Last Time" is my favorite (though I also really like "That's Who I Am" and "This Time Around," which reminds me of Pat Benatar). I have to say just how much I like the backing vocals throughout this recording, and here again Tahni has written great vocal arrangements. "I wanna go out with you tonight, I wanna make everything all right ..." This is a great pop rock ballad -- deserves a duet with fellow Italian Jon Bon Jovi or Joe Perry (you get the idea!). [But locally, why not Craig Marshall?] TURN UP THE VOLUME!

Maybe Austinites will naturally want to check out "No Work Today" - a catchy tune about a sunny day with clouds that roll on by -- "drive up the coast, wind blows in my hair, if you see me hanging around I'll see you there...." EVERYBODY will want to join in on the chorus! Sheboygan fans will love this music! And then there is "Heartache," another ballad ... reminiscent of a Kacy Crowley tune. The last song, "In the End," was recorded at Church House with Cochran on David Boyle's 1913 baby grand -- this is a lament about a loss of a friend. "You never know what you will get, but if you listen you will find your way ... you never know what you find in your condition, might as well be blind ..."

Jodi Adair in Wonderland!

Jodi Adair flew away from New Caney, Texas, at age 18 and went to Europe, and just kept on traveling. Not that long ago she landed in Austin, to be taken in by such friends as Carolyn Wonderland, Karen Deschamps, Shelley King, and a host of others. Jodi is a singer, a songwriter, an artist and a poet -- and a story teller with a childlike quality and the overflowing love given to her by her man Jesus! I met Jodi months ago, but only recently got to hear her songs -- and find out just how much she is loved by so many of my dear friends.

Take Gregory Truett Smith -- whose upcoming project is to paint the Book of Revelation and who has been churning out amazing art for as long as he has had fingers. Flanfire has Smith's Humpty Dumpty in the Southwest on his kitchen wall -- and is in awe of the works he had recently on display at Thunderbird Coffee. One popular piece is the poster art for Carolyn Wonderland's "Miss Understood World Tour" - here she is an angel of light. Another is Courtney Audain, whom Jodi chose to produce her record after hearing what he had done for Steve Carter's wonderful "In Love Again." Then there's my dear friend Kris Brown, on stage on bass, and Cole El-Saleh on keyboards with Carl Ryals on drums. And, who else but Carolyn on trumpet (her new 1920 model), her hand-made mandolin, and of course guitar? Later, the fabulous LZ Love joined in on "Chauffeur Blues," which featured solo verses by all three of these God-loving dynamos.

The evening at the Amsterdam (which HAS to be the best new music venue in town!) began with a soaring solo set from Aimee Bobruk, whose bright-eyed mom was in the house shaking a leg and spreading joy all around. Aimee brought lots of energy to her set, including playing to the dozen or so folks sitting outside (through the window glass) in the smoking section. The crowd swelled for Jodi to standing room only -- some had surely come to hear Carolyn play, but this was the newcomer's night -- and the real coming out party for the Amsterdam.

You meet Jodi and you feel the love. She reminds me so much of Donna Fargo -- a country girl with a big white Ford truck and an even bigger dog -- but a HUGE heart! So when she opens her set with "Sunshine "Worry 'Bout the Weather)" you feel you are in church (and you are, of course), and then when she continues with "Let Me Love You," the answer is a resounding YES! But back to the record. Jeffery Bouck is on drums, and W. C. Clark gets the lead guitar on "Bad Man Blues." My buddy Oliver Steck blows his horn on "Praise," an honest to God worship song, and Price Porter is on pedal steel on "Daddy Was Gypsy." Otherwise, Carolyn and Kris Brown split electric guitar leads, El-Saleh provides keyboards and even "strings," Audain adds just about everything else, and Jodi provides the songs, the voice, and the joy.

"Devil's Beating His Wife" is just Jodi and her acoustic guitar -- the way she plays Wednesday afternoons 4:30 till 6:30 pm at Mesa Ranch (south) -- and look for Jodi at the Hole in the Wall on Sunday, November 2nd -- a MUST ATTEND SHOW! But back to the show - and the CD. As noted, "Bad Man Blues" is just hot stuff! "Wild Fire" and "Cabin Fever" are songs I will not easily tire of hearing -- "Lessons Rough" is very different from the rest of the record, reminds me of Raina Rose. But then "Daddy Was a Gypsy" has that pedal steel and that story about "a pretty Texas queen" who stole daddy's heart and about the girl who also became a gypsy who "settled down easy" after traveling the land -- and yet this is also a song of praise. Indeed, Jodi's myspace moniker is "The American Gypsy."

"I Love You More" is an amazing song about faith in the faithless -- shows Jodi's range both vocally and emotionally. Gotta love Cole's piano here (and Courtney's organ adds). "Spoiled Child" is an edgy number -- "what makes you think you matter to me?" "I'm just a spoiled child out there in your world," Jodi sings -- and you know she is being honest even with herself. Now my pal Gregory beamed when Jodi started singing "Big Texas Smith," but I suspect the song is about a blacksmith ... this one features Kris Brown on dobro slide guitar and Jodi's own rough-hewn acoustic guitar and the story of a man whose legend might rival Paul Bunyan or Big John.

Earlier in the week I had the great pleasure of watching the wonderful Brennen Leigh, who (with Justin Kolb and Silas Lowe) showcased songs from her upcoming and eagerly awaited CD and maybe a few that will have to wait till her followup record. I stuck around at the Hole in the Wall to catch Shotgun Party on the eve of their world tour of the Eastern United States (boy do we miss those honeys when they are traveling on!). Here's Katy Rose Cox fiddling away as Jenny Parrott (you can see her dress) encourages the band's new bassist Jared Engel (just down from Noo Yawk City!) on his amazing work on their songs!

Finally, we have Steve Ulrich and the Djimbe Packers after their wonderful set at Cafe Caffeine on Friday. Steve (Zeus Muldoon, Steve Convenience, and more) was a longtime fixture in the Austin local music scene but he found true love in Guatemala and moved to Portland, Oregon, with his bride Elizabeth and comes back home only once in a while to see his sons and grandkid.

Gotta get out to Jovita's on Wednesday for Blues Mafia -- and so much more to do!

Flanfire -- Bringing LIFE to Austin music.

2008-10-20T07:36:00.012-06:00

Majoring in Paul Minor!
Paul Minor has had a long, interesting career in the Austin music business -- all the way back to his high school daze. He also has a Master's degree in conflict resolution -- practical stuff for a bandleader.

For nearly a decade he hosted the Rock and Roll Free for All at the Hole in the Wall, giving space for such bands as Spoon, Fastball, Rilo Kiley, the Scabs and You Will Know Us by the Trail of Dead (and countless others). I personally know little of this history -- and only very recently have I focused in on the man some have dubbed the "urban cowboy." I DO remember the buzz over the release of Paul's earlier solo CD, but never actually listened to the songs or even caught a live show. So I come to his new CD, "The Marfa Project," as a newcomer to Minor Productions -- except that my pal Bryce Clifford highly recommends his new roommate and his music.

The other night at the Hole in the Wall began with a hot set from Sheboygan -- which I totally missed in order to hang out with my friend Esther as her brother Josh's band The Afters played at Momo's Club. I HATE to miss Sheboygan sets! But Rusty and Cory hung out all evening, and Cory even got up and sang with Paul and the band -- Jeff Johnston on bass, Gary Newcomb on pedal steel, Austin Jenkins on guitar, and Steve McCarthy on drums. [Mind you, David Beebe (also bongos and harp) and Wayne Duncan split the drumming on the CD, which also featured Adam Bork on keys, Michael Crow on Moog, chimes and trumpet, Chip Dolan on piano, organ and accordian, Matt Hubbard on piano and organ, Mario Matteoli (also at the show) on guitar and mandolin, and Gergory Smelley on bass (along with JJ, who also played saw and chimes).]

I gotta say that my early favorite here is "Windmills," a real folk song about hanging out in the Texas Hill Country ... sampling the grapes at the Luckenbach vineyard, stopping beside an old windmill and took a few pictures ... but this song is really about the joy of togetherness now lost. "Here I Am" sings of a two-lane road that opens up my mind and lightens up my load. Love the keyboards on this one. "Lord Help Me" also reaches back into the depths of the author's soul -- it is an all out moan that comes from Minor's childhood days in inner city Houston. I would love to hear Ben Harper get hold of this one -- with the Blind Boys of Alabama (for example).

The CD opens with "Devil May Care," a song that Fastball ought to record! It could be their biggest hit since "The Way." The bridge is especially memorable -- "I'm just another disappointed soul without a clue." Another favorite is "Afterthought," which opens with that anthemic strum and then the haunting harmonica ... that makes you beg for the lyrics to begin. And so we get, "I lost my mind with my heart's assistance," and "I put you before me as an afterthought." I hear this song live with a big organ solo and maybe even a falsetto vocal -- this is another ditty just waiting to be covered by a major artist. Minor makes it wistful ... but you really want to have this lyric and the melodies burn deep into your DNA.

"Slow Burn" is maybe the most Dwight Yoakum song here, a real honky tonker. And, yes, Bandstanders, you can dance to it. But then, "Lettin Off Steam" is more George Strait -- the boys in the band just lettin' off steam. "Out of My System," cowritten with Matteoli, is the bounciest tune on the record. "Lucy" shows yet another vocal style, closer to Jimmy Buffett (with bongos yet). The final cut, "Live and Breathe," is another traditional ballad, and the more I listen the more I like Minor doing this type of music (kinda like McGuinn with the Byrds singing Dylan). And, as noted, his songwriting provides great opportunities for some of his pals.

The third band on the Friday night bill was the Brothers Lazaroff, which still hails from St. Louis even though Brother David has lived in Austin for a number of years. Brother Jeff (the one with the beard THIS week!) brought down Grover Stewart (drums), Teddy Brookins (bass), and Scott Bryan (guitar) to join Austin's Lindsay Greene (keyboards this time) and Gary Newcomb (pedal steel) -- with Elizabeth McQueen joining in on vocals at their Jo's Sinners Brunch show on Sunday. I LOVE THIS BAND -- and they have just about finished their second CD ... which they will likely debut on their next trip to A-town!

Left - Josh Havens of The Afters; right - Juan Gutierrez of The Century at the Hole in the Wall.

Earlier at the Hole I caught up with Juan Gutierrez, who played an acoustic set with guitarist David Jimenez (who also sang an amazing version of "Satisfied Mind") and bassist Dan White. Juan handed out a demo with eight songs, including new versions of "Gold Mine" and "Fools Gold." Nice stuff!

On Wednesday I got over to the new Mesa Ranch for Happy Hour with Jodi Adair (CD release October 25th at the Amsterdam -- see below -- featuring Carolyn Wonderland on guitar and Kris Brown on bass!) and stuck around for a wonderful set from Jon Emery and Karen Mal (with the amazing Steve Carter sitting in for three songs). I like this venue -- comfortable environs and tasty morsels -- and I was thrilled to see the new, funkier Karen, one of Austin's most beautiful people inside and out.

Kim Deschamps is playing Tuesdays at the Amsterdam (8th and Colorado) -- the food is good, the beer is cold (though I had a bottle of wine that evening), and the ambience is Austin! Yup - that's Leeann Atherton blowing the harpoon with Tony Velasco on bass and the very handsome Perry Drake on drums.

Finally, kudos again go out to Sideshow Rob Cooperman (the guy needing new jeans) and Monte Peck from Shut Up and Sing -- who ply their trade every Sunday evening at The Dirty Dog and again on Thursdays at Waterloo Ice House at South Park Meadows. These guys are keeping alive that great tradition of song sharing out in public -- and providing really talented people opportunities to make new friends here in Austin. And Oh, Yeah, I ran into Izzy Cox on Sunday at Jo's -- she has another new collection of murder ballads and more about ready for the world -- just got back from another tour and ready to sing her guts out for the folks here in town.

Flanfire -- Bringing LIFE to Austin music.

2008-10-12T13:02:00.009-06:00

A Double Dose of Gentleness: Dana and Eleanor!

The Vortex Theatre on Manor Road is one cool venue for music -- even though it is mostly used for live experimental theater.

Erika Maassen; Gina Dvorak, Dana Falconberry, and Erika!

But Roy Taylor works at the place, and he also produced Dana Falconberry's sparkling new recording, and so several dozen of the luckiest people in town got the chance to hear Dana and her vocal trio (backed by bassist Andrew Bergmann) in extremely fine fashion (yes, Roy also ran the sound and hung the stars and kept the songbirds chirping!). He also manages the band.

The glorious night began quietly enough (except for some rustling among the crowd to get another drink during the show, something that would NEVER HAPPEN at the Bugle Boy!). A gushing Erika Maassen (star above her head as it always should be) showed off her pipes with four songs, including Mr. Nothing (which she did not write), then Gina Dvorak followed with five songs that also left most of the audience begging for more. No wonder the three-part harmonies sound so good!

Did I mention that all three women came out in white -- and that the entire aura of the evening was much more heavenly than the cream cheese ads featuring silly angels! Dana Falconberry hails from Dearborn, Michigan, but she came to Austin in part by way of Conway, Arkansas, and her songs are often haunting (Doug Burr's songs are a reference here!) and always unique.

I have to start with a song that has captured my heart -- "Singing Lullabies" is maybe the most joyful tale of death and afterlife that I can remember ... "Nobody knows that I was singing when I died, and I was peaceful, I said all my goodbyes, and I was happy, I was singing lullabies." The title of the new CD, "Oh Skies of Grey," is the first line in "Blue Umbrella," which on stage often features Erika on cola (or beer) can. Indeed, the musical framing of these songs goes way beyond the lyrics themselves to create a special time.

I remember my first encounter with Dana Falconberry -- two Halloweens ago at Epoch Coffee House (outside under the stars) with Bonnie Whitmore all dressed up to play the cello and wearing her roller skates. Sister Eleanor was there that evening, too, with her (then) new BF Chris Masterson. Dana's backing band that evening included Michael Longoria and Luis Guerra (who also play in Terremoto and have Patty Griffin connections), and they of course are all over the new record. Like Seth Walker, Dana seems to have been teleported to Austin from another time -- Seth from the Fifties, Dana maybe from "The Shire."

I started going to see Dana at Momo's and thought as I first heard the trio that this was even better than the earlier (for me) stuff and that maybe she could keep this concept going. But would these two very talented women subsume their own individual careers? Not that long afterward, Erika found out her old high school buddy Andrew was moving to Austin -- and that he had become a pretty fair city-slicker bass player. Next thing you know he was a fixture -- and my joy over this wonderful woman and her musical entourage grew again.

Back to the live set, which includes Dana playing a very fuzzy electric guitar, Gina picking up the banjo, Erika adding keyboards now and then, plus whistling, tambourines, and more. A major highlight was a hot version of Sam Cooke's "Cupid" -- brought down the house! A favorite of mine has to be "Birthday Song," which I can claim is written to me, as MY birthday is in September, too. But it is songs like "Baby Blue Sky" that remind us that Dana has that amazing quality of making everyone around her feel younger -- and cleaner inside and out. Lucky folks can catch Dana on October 15th at the Mohawk opening for Tom Schraeder -- and again at the Mohawk on November 5th opening for Sea Legs (both CD release shows).

My early memories of Eleanor Whitmore are always as Bonnie's amazing sister who plays fiddle and mandolin -- and how she made Slaid Cleaves a household name for me (along with Oliver Steck). I held Bonnie's hand during Eleanor's dreadlocks days ... and rejoiced when she reemerged from exile in Arlington to pick up not only her fiddle and mandolin but also to go to work here and there for Bruce Robison and Kelly Willis. Then I heard that she was singing harmony vocals with Bruce on his new CD -- and so I was excited to get out that cold evening it seems forever ago at the Red Eyed Fly (inside!) to hear Eleanor debut her own songs with sister Bonnie at her side.

This, of course, was long after that fateful aforementioned Halloween, so I am certain that SOMEONE was encouraging her to step up. Maybe it was that certain SOMEONE who also was smiling at her as she debuted her guitar picking at Antone's a few weeks later. That SOMEONE (Chris, of course), also produced the new recording, Airplanes (which to me is a counterpart to Dana's Paper Sailboat).

I love these songs -- "The River," cowritten with Michael O'Connor (whom I got to know years ago on a big boat with Shelley King and Miss Bonnie and others), "Airplanes," cowritten with Chris Masterson, but particularly songs like "Sing" and "Coffee in the Rain" (so honest!) Maybe the second best thing on the record (besides Eleanor's gentle voice) is Eleanor's heart-warming fiddle (sometimes violin! -- after all she is also a symphony player). Speaking of players, the cast of characters on this recording includes George Reiff on bass, Paul "Falcon" Valdez on drums, Sweney Tidball on piano and Wurlitzer, and maybe a few others whose identities have so far been unrevealed.

The record opens with "Never Say a Word" with one of those microphonic gizmos (harmonica mike?) and then all of a sudden you get the real Eleanor and that Wurlitzer -- and then there are some sepia-toned background harmonies to give the song that old-time feeling (a not-so-distant relative of Dana's music). But of course, with Eleanor, you get the violin/fiddle and are carried away to Never-Never Land where she really lives (she only SAYS she lives in Brooklyn now). [And you have to know that a skinny kid from Bertram must be flying high to have such a genuine musical princess at his side.]

"Sister Sleeps" is a nice little song that speaks of everyday life when your lover is away. "Waltz of the Mystery Ship" is just a little interlude that sets up "Just Friends" (when she really wants more!) -- subtly subtitled Eleanor ROCKS! "Awake To Remember Me'' really showcases the growth in Eleanor's vocal power -- this song has that Sixties feel (early Airplane?) - I hope for a real power solo by Mr. Masterson at the next Eleanor show (which in Austin means opening on October 22 and 23 for Carrie Rodriguez -- yet another fiddle player who can really sing!).

I also love "Fly," which is the nearest thing to a traditional top 40 ballad on the record. I can just hear Donna Fargo on this one (if she could handle the subtle political reference). "Sorry" opens with muted trumpets ... OKAY, this too is a real ballad ... that ought to be heard on Majik 95 and other stations that play music for people to really listen to and enjoy. The more I listen, the more I love this song! Even so, "Coffee in the Rain" to me is the purest Eleanor -- I can just see her with her finger properly curled around a fine china coffee cup while wearing cutoff jeans. "Sing" is yet another waltz (with lots of action along the way). And "The River" is ALSO a waltz, but one with that Wimberley touch! Guess I will just have to cough up the big bucks for Carrie (even if I end up missing her set) because I just cannot get enough of Bonnie's Big Sis!

And speaking of fiddle players, here's the perky JoBelle Smith (aka Ruby Jane's mom) with a pal having a BLAST at Roadhouse Rags -- dancing to the sounds of the Austin Fiddlah. [When the kid's away in Washington, DC, Mom gets a night out to live it up!]

Sarah Stollak organized this fine evening of music, in what she has billed as her farewell performances with the Lonesome Heroes and American Graveyard, who shared the stage with the Flatcar Rattlers - and will again on November 15th BTW. LUV Roadhouse Rags!

Sarah says that all that fiddling around has just made her crabby and she wants to focus on her jewelry and other handicrafts (she has also been known in this town as Sarah Millenary). We have been blessed in this town to hear Sarah with these two bands plus Marshall Jones and the Frontier Phrenologists and here and there with Girls with Vices and still more performers.

I have to say the Heroes show was bittersweet -- Sarah is just tired and may not even realize just how much her music has moved so many of us over the years. Meanwhile, Kullen Fuchs was showing his stuff for a special visitor -- even brought out HIS Wurlitzer piano for the night.

Flanfire -- Bringing LIFE to Austin music.

2008-10-07T23:14:00.024-06:00

With Friends Like These ... You Never Die!

Max, Sasha, and Patrick of Blues Mafia; Dustin Welch and Drew Smith at Threadgills.

Confessions of an ACL Festival dropout. Here's No. 1. There is so much good music in Austin that it is hardly worth the price, the dust, the hassle, or even the downgrade in music quality to lose six days (three at Zilker, three more in recovery) and six hundred dollars (after you pay for all of the food and drink, the stuff, the tickets, and of course the lost wages and more) just to be able to stand four hundred yards from Beck.

Therefore, on ACL Friday, I stopped by Momo's for great sets from the Sideshow Tragedy and Drew Smith and his Lonely Choir. Next evening it was Blues Mafia in their Momo's debut -- and by the way, they are already mixing their just-recorded debut CD (produced by Dave Sebree at Austin School of Music, where the band was born). More on Drew Smith later, but Nathan Singleton, Jeremy Harrell, and Justin Wade Thompson showed off a few new songs and the high energy that is their trademark. The Mafia -- opening for Patrice Pike -- started off like a band that had not played a gig in a month, but about five songs into their 90-minute set, the pilot light morphed into a five-alarm fire. The kids play at the Mohawk on October 16th and at Luna in San Antonio two days later -- warming up for the CD release and their Ireland trip in December.

Next, it was off to Creekside for my first take of Slowtrain without Brett Staggs on skins. The good news -- guitarist Andy Keating has taken over the harmony vocals, and the boy's all right! More news -- Jason from A Few Nice Things was on drums, and then that band (with Adoniram Lipton and Matt Roth plus Jason, Justin and Jesse (see photo) offered up some glam rock that reminded one of early Poison and Ratt (both of whom once shared practice space with my old friend Tahni Handal). Gotta see these guys on a higher stage (lots of energy and glitz).

Then it was two (more) days at the Cactus -- first off, for my favorite red-headed fiddle player Eleanor Whitmore and her Burnet County stallion Chris Masterson. Eleanor has a brand-new CD, "Airplanes," produced by Chris and featuring 12 of her songs (one each cowritten by Chris and Michael O'Connor), all of which I love. [More on this record next time.] Afterward I jumped over to the Hole in the Wall to catch part of Leo Rondeau's set (with Mario Matteoli on lead guitar) -- and found Tres Hombres [Rich Russell, Landry McMeans, and Brennen Leigh] and lots more folks enjoying the music and madness that is the Hole.

I went back for a wonderful set from the WOW girl, Molly Venter (with Joe and Joe). Full house again -- a real love fest.

After Molly had totally revved me up, I trekked down to the Mohawk for a KILLER set from T-Bird and the Breaks and stuck around for maybe an even BETTER set from Moonlight Towers. James Stevens is so well known as a music producer that we sometimes forget just what a powerful singer he is as well.

While there, I got to share some of T-Bird best bud Sam Patlove's birthday pie (!), eat some jumbalaya and in the process help the Leukemia and Lymphoma Society, and hang out with Kat Edmonson and the amazing Kevin Lovejoy. But I ALSO got to check out the Mohawk's wonderful Green Room (the upstairs bar often set aside for visiting touring bands as their private hangout), and one day hope to hear Mister Lovejoy tickle the ivories on their baby grand. Nice view of Red River Street -- and a great place just to relax.

Somewhere during the week I stopped by the Parlor for pizza and the bonus round too -- Lubbock's The Diamond Center and Austin's Sad Accordians. On Sunday, it was over to Antone's for a smokin' set from Ricky Stein (aka Willis Allan Ramsey-Stein) -- who promises his long-awaited debut CD will be out in February. Better be, or his massive fan club (three members pictured here) will likely shave his head.

OKAY -- so by now you are wondering why I have a photo of Drew and Dustin at Threadgill's. The answer -- Marcus Grogan's 28th Birthday Bash, where the daring duo opened for Jeremy Nail and the Incidents and Goldcure. Drew and Dustin -- two GREAT songwriters who are just amazing together (even when harmonizing with Nail and later with Goldcure). Here's Marcus getting a hug from Goldcure's Adam Buhrman; earlier, Justin Wade Thompson and Gavin Inverso swap poems (or something) and revel in the glory of the evening. Marcus, my man, with "friends like these," you will never die -- even if you say "Goodbye."

One SPECIAL thing about this evening was the wonderful sound from James Duvall (and his sidekick Eli Smith). I had never heard Jeremy and his band (featuring Chris Ware on guitar!) sound better -- and Goldcure's set was way past amazing, thanks also to new bassist Marcos, who in his second show with the band, showed great energy and "length" -- good chops, too! Now I gotta also note that our birthday lad is the guy who keeps Goldcure's Craig Haskell from starving with buckets of Threadgills' food. So I owe the guy big time!

Drew Smith -- Dude Grows on Me!

First few times I heard Drew Smith I thought, Vegas act! Next few times I heard Drew Smith I thought, maybe I need to listen because these songs are pretty good. New few times I heard Drew Smith (singing duets with Dustin Welch) I really began to get into the big guy. Then there was the Drew Smith CD release at the Continental Club -- what a great show, so many friends, so much great music. I mean, I love Dan Dyer -- but Drew Smith makes me laugh and cry and stand up and applaud all at the same time. Gotta LOVE his CD jacket -- what a band! I mean, really! Matt Russell on keys, Ryan Bowman on bass, Daniel Doyle's screaming guitar, Dustin when he can, the horn section (sometimes Rick White on trumpet, Dave Renter on sax, Jeff Freeman on trombone, and Joey Colarusso on baritone sax) -- and always lots of friends singing harmonies now and then. Guests on the record include Warren Hood, Ed Jurdi, and (yes that's his shy wife Shelley on doo doo doo's on "Travel My Dark Road"). But enough blah.

I like Drew Smith's voice (sometimes Van Morrisonesque), but I love his songs -- from "Nilsson Sings Newman" to "Silver Pictures" to "Diamonds" to the wonderful "NYC Song." But let's get real. "Follow Me Down" and "Are You Lonely" enlist every LIVING soul in the audience as part of the "lonely choir" -- because you are just so very comfortable hanging out with Drew and his entourage, sharing a brew and maybe more and singing together into the wee hours. Drew would say (correctly, to be sure) that his pal Matt and his musical arrangements are what make the record, even the live performances, so memorable -- but that humility is what makes Drew (and for that matter, Dustin Welch himself) so unforgettable. Drew's songs reflect the person he is -- take, "So I sat stunned from the beauty of an evening glowing brilliant" from "NYC Song," or the opening line from "Home" -- "Home feels just ike an old friend that I hold through slumber all the day.."

POSTSCRIPT!!!!! I met Will Callery the other day -- guy whose hit songs include "Hands on the Wheel" and whose old comrades include Jerry Jeff Walker. Will, whose musical success was wrecked by powder, chose God and gave up music for a long-time career as a lumberjack, is back playing guitar and writing songs .. including "The Great Divide," which will appear on the album series, "Voices of a Grateful Nation" and as part of "Welcome Home," a project begun by Eric Clapton's longtime drummer Jamie Oldaker and Craig Hillis to honor our troops. Players on his new record include my good friend Greg Lowry, Joe Forlini, T, Gosney Thornton, Ted Sweeney and Eddie Cantu and Pat Menske.

POSTSCRIPT II!!!!! At the Marcus birthday party, I also ran into Nick Drozdowicz from the band Twilight Broadcast, which moved to Austin a while back from Madison, Wisconsin (note to all cheeseheads -- get to know these guys!). He gave me a demo copy of their soon to be released CD, "The Variety Show," and I listened to it twice through late into the night -- and then again the next day. More on this band soon. Hmmm -- like Goldcure, this band started with two singer-songwriters hanging out together playing their songs.

Flanfire -- Bringing LIFE to Austin music.

2008-09-27T17:02:00.011-06:00

Amsterdam in Austin!

Aimee Bobruk with Kim Deschamps on the stage at Amsterdam Cafe, Austin's newest live music venue that features good food AND good music.

Sherry Brokus and Jim Patton -- plus Jodi Adair in a white dress (and of course Mister Deschamps again!) on the triangular stage at Amsterdam on songwriter Thursday last week.

Want to watch great Austin music in downtown Austin, have a pizza and a cold draught beer, and maybe meet some great new friends? All at the same time? Then you will want to trek over to 8th and Colorado -- a block off Congress -- to the Amsterdam Cafe. But, you say, the Amsterdam has been in town for a long long time -- whazzis about live music?

As I walked in the door early Thursday evening, I was greeted first by the wonderful Karen Deschamps and second by music manager Kent Mayhew -- himself a performing songwriter who understands what musicians need and want in a venue. The stage is large enough for a full band but intimate enough for a solo performer playing acoustic guitar.

Food? Paninis, pizza, soup, appetizers, cold samiches and even rabbit food -- plus (for the downtown crowd) a brie plate with green apple and a demi baguette. And, yes, they ALSO have coffee (including espresso) -- and a good selection of beer, wine and even the harder stuff. Fellowship? Well, I had an all-night party (till I had to leave) -- and did I mention there is even a pool table on the lower (side) level near the outhouses (inhouses?).

Aimee Bobruk led off, followed by an in-the-round with Kim Deschamps (playing pedal for everybody but a variety of his own guitars on his own excellent songs), Jim Patton and Sherry Brokus (of Edge City) with songs from their new CD, "Plans Gang Aft Agley," and a young woman whom I have known a while but only this evening got to hear play and sing -- Jodi Adair.

Jodi has a new CD out next week, and Jody Denburg has already been playing a cut or two on his afternoon show on KGSR. Onstage she's like an older Ruby Jane -- full of energy, always learning from her fellow musicians, and ready to take the mike and fire up the audience -- and just as much fun! Truth be told, though, this little young lady from Pasadena ran from high school straight to Europe a while back (a lady never tells her age) and has been singing and busking ever since. Word is that folks like Carolyn Wonderland, W. C. Clark (what a story she had about this legend!), Kris Brown, and many more helped make this recording sound great -- so keep on the lookout because Jodi will find a way into your set list.

Earlier in the week (or sometime recently -- time just slips away) my pal Chris Brecht invited me down to the Cactus Cafe where he was opening for Denton's Doug Burr and San Antonio's Buttercup. Now Joe Reyes of Buttercup is a special friend of mine (goofiest Grammy winner I know), and I love this wacky band of cutups -- who also make DAM good music, and LOTS of it. It's been a year since they released their most recent song collection [The Head Sits Upside Down on the Top of the Head !], so expect another one really soon. The set included "Bellatrice," "In Spain," and a new one called "Superior," among others -- and, yes, Joe DID play the bells. These guys to me exhibit the SPIRIT (though not the style) of Doug Sahm -- irreverent but always inventive and never ever boring.

But back to Doug Burr -- a favorite songwriter of both Chris Brecht and Jeremy Nail (and countless others, from what I hear). A few years back he put out a "gospel" record, "The Sickle & the Sheaves," and lately he has been working on a project called "The Shawl." But the record I want you to hear right now is the amazing, "On Promenade," eleven songs with pithy words and pungent music that ranks among the best I have heard not just this year -- we are talking about Daniel Lanois good.

The record starts out with "Slow Southern Home," voted song of the year by the Dallas Observer -- "A blind man sang, Bells of joy, I was a stranger, but still a boy; my parents dead. The vines had grown through my slow southern home." Then there's "Come to My Senses" -- "There's a darkness hangin' o'er the West here in the land of progess...." The sad tale of Graniteville, a town hit by a toxic cloud from a chemical train wreck --but also a love song.

One of my favorites is "How Can the Lark (My Dear Theo)" -- here the music just takes over. "Should've Known" -- "Nothing changes here .. for all your broken-hearted, bloody souvenirs..."

"Thing about Trouble" "Up ahead at the bend, Seek help from the wind, Open eyes on the river bank where anything can happen, things you can't imagine -- a flood is gonna come this way."

"Last Promenade" is a classic tune -- a march, really -- "Promenade me down, Meet me in the field, A trail of blood upon the leaves, There are two moons out tonight and all the stars are thick as thieves. Now one minute I was sleeping and the next I was awake. And I was uninvited but a guest at midnight made... " The song set closed with "Blood Runs Downhill," with just Doug on guitar and vocals, Todd Pertll on pedal steel, and Glen Squibb on Wurlitzer.

Closing out here, I will just say that the Sideshow Tragedy (great T-shirts, eh?) and Drew Smith played at Momo's on ACL Fest Friday and it was quite a joy. Drew has T-shirts, too -- and a new CD which we will one day tell you more about. Suffice it to say that I tend to stick around to hear this guy either solo or with his band (which again I will write more about someday -MICHAEL!). But not this day.

And, oh by the way -- Blues Mafia made their Momo's debut opening once again for Patrice Pike on ACL Fest Saturday Night -- they have just completed their debut album and are working on artwork and other post-production stuff with the intent to release it prior to their adventures in Ireland in early December for the Blastbeat world finals.

Flanfire -- Bringing LIFE to Austin music.

2008-09-20T00:02:00.013-06:00

Will T. Massey's on the Peace Train!

Will T. Massey has long been known in Austin for his songwriting -- and his gracious gentle soul (so enhanced by his friendship with the genuinely lovely Valerie Fremin).

Will, who will soon turn 40, was not even born when I first started marching for peace and freedom on the streets of our nation's capital. -- and yet his new recording, "Wayward Lady," captures the essence of that earlier peace movement that was built on flower power.

Massey introduced these songs at (where else?) Threadgill's Old No. 1 on North Lamar, wearing a shirt with skulls hidden in the pattern. He speaks his truth simply yet without venom -- much more a member of the "Virtuous Caucus" of which I was a proud member during my days with Liberation News Service than of the "vulgar Marxist" hard-liners who beat LNS founder Marshall Bloom to a bloody pulp after the merrie men of the caucus had taken back their printing press from the interloping gestapo.

The Threadgill's CD release party reminded me so much of those early days with my Quaker friends -- singing songs of peace and freedom that reflect a deep love of our country, our people, and our hope for the triumph of everyday people over corporate (and bureaucratic) greed that has infected our entire political system. The band -- I speak with great reverence -- Richard Bowden playing fiddle with a heart the size of Texas; Marvin Dykhuis on guitars and mandolin; Will Sexton on bass; and the amazing Mike Meadows on cajon, gombe, and other percussion -- plus occasional vocals from Sally Allen -- a collection of talent and gentleness rarely assembled on a single stage.

Some of the songs -- "The Crooked Kind" (condemning the corruption of the "policeman of the world") and "You Work for Me" (Mr. President!) come to mind -- show forth Will's disappointment (rather than hatred) with those who have (mis)led this nation in the wrong direction. But this is a man whose heart is revealed in songs like "Peace Train" and "American Prayer," and even moreso in the title cut ("you're a wicked woman but I love you .. my wayward lady, USA").

Will covers Pink Floyd's "The Gunner's Dream" and "Hooker with a Purple Heart," written by Vietnam veteran Michael J. Martin and Bill Carroll. He laughs his way through "Life on the Run," noting quite poignantly, though, that breaking the law is much preferred to killing. But "American Seance" clearly presents Massey's great sadness over the perceived (and perhaps actual) betrayal of America's real core values by a power structure gone mad.

And yet -- how well do we know our own national history? Sure, we can recount the misdeeds of the old Confederacy (and others who were complicit in the slave trade), the ongoing horrors of racists who sought to crush the civil rights movement, and so on -- but dare we remember the internment of Japanese-Americans ordered by President Franklin Roosevelt, or that goon squads unleashed by President Woodrow Wilson arrested an estimated 175,000 Americans for failng to demonstrate their patriotism in one way or another.

Will longs for a country where people can just live in peace, love their children and one another, conduct their business honestly, and share their good times and hard times as fellow travelers on life's highway. A true son of my pals Marshall and Ray -- who would have been right at home at the old Human Be-In's but who can also speak soberly of the way we oughta be.

I was out in Colorado earlier this week with another straight-talking songwriter, Chris Brecht, and my good pal Matt Mollica (who brought his accordian on the plane given that his Hammond B-3 would not fit in the overhead). The boys opened for Jesse Sykes and the Sweet Hereafter at Boulder's Fox Theatre, one of the coolest music venues I have ever visited. Lots of other Austin bands play the Fox (Black Angels, Bob Schneider, and Boombox in the near future). We missed Erin Ivey and Alyse Black, who played the Monolith Festival at Red Rocks over the weekend (another great venue out that way).

Just prior to the trip, I moseyed down to Momo's for Warren Hood's CD release -- so many people, so little time to hang out. Pretty darn good stuff, which I hope to report on in more detail. Ditto the Drew Smith CD release party earlier that week at the Continental Club (just WOW!). On the heels of the Dan Dyer show -- and still waiting in the wings, Dustin Welch's forthcoming masterpiece of songwriting and showmanship (and much more!). Here is a photo of Drew later that evening, singing along with Dustin Welch and Kacy Crowley on Dustin's "Two Horses."

I was also fortunate enough to get out to the Carousel Lounge for PART of the David Lazaroff 30th birthday party (cake good!) -- enough to hear David playing with Elizabeth McQueen (she and hubby Dave Sanger are VERY PREGNANT but not due till January!), Lefty Nafziger (who also plays with Warren), Gary Newcomb, Lindsay Greene, and a host of percussionists. Even better was getting to watch David dancing with his honey to the sounds of Elizabeth and her Firebrands (yeah, the same guys, by and large). Neal Kassanoff had played an early set, as had Gary, so I am told. Later that same evening I ducked out to catch a few songs at Beerland from the Sideshow Tragedy (Nathan Singleton, Jeremy Harrell, and Justin Wade Thompson) and pick up one of their awesome new T-shirts (featuring the Elephant Man).

I also got out to the Saxon Pub for a rousing set from Aimee Bobruk and her band, to Central Market North Lamar for Alyse Black and her trio, and to Central Market South for fun and frolic with the Hudsons (and to Roadhouse Rags to see Brennen Leigh). No photos -- but LZ Love rocked the house at the Iguana Grill!

Aimee Bobruk with Jon Notarthomas (also John Bush, Darwin Smith, and Will Sexton); Alyse Black; and Brian Hudson, Hudson Mueller, and the suave and sophisticated Leah Zeger.

Flanfire -- Bringing LIFE to Austin music.

2008-08-27T10:15:00.003-06:00

Kacy Crowley and Her Crooked Cross

New England native Kacy Crowley, in her first decade or so in Austin, went from "Anchorless" -- her widely acclaimed 1997 debut that was picked up by Atlantic Records -- to "braless," her on-stage collaboration with fellow Austin songbirds Trish Murphy and Renee Woodward.

In between, Kacy joined the Lilith Fair, played the H.O.R.D.E. Festival, traveled with music's high rollers, had her second album dumped by Atlantic, recorded a third record with Jon Dee Graham, and set aside her roller blades long enough to learn horseback riding. Somewhere in the mix, Kacy has had her songs placed in three major films and various TV shows, survived cancer and drug addiction, and learned a lot about "struggle and hope."

My own first memories of Kacy Crowley (other than as a legend whose name was whispered as one more example of how the music industry has screwed Austin musicians) was on stage at Threadgill's during the "braless" era -- at some benefit whose cause I forget. Later, I saw her a few times at the Hole in the Wall -- but the truth is I never really listened to her songs until lately, after running into her at Antone's during a show by Homer Hiccolm and the Rocketboys.

So I really know little of this mesmerizing performer (who blew away the crowd at the recent Dustin Welch hoot night at Momo's) other than what I have gleaned from watching two different videos of "Badass" -- the cancer survivor version and the roller blader version. So I come to the brand-new CD, "Cave," almost as if I were hearing a brand-new artist for the first time. And after listening to "Cave" about two dozen times, I am glad I met this intriguing woman.

You want to root for Kacy -- she's the girl next door who has been stepped on, kicked at, spit on, and who knows what all else just for being special and yet vulnerable. She's the daredevil who's always getting banged up but keeps on ticking like the Energizer Bunny -- and in this new recording Kacy (once again) lets us in on her private little secrets of survival and joy.

The key line in the opening (and title) song, "Cave," is "I face the truth that lies here, this crooked cross I bear." [Note: The CD Baby spiel on Kacy's "Tramps Like Us" describes that record as "eleven disarming acoustic songs played by crooked girl on broken guitar."] "Trampoline" (or is it tramp-0-line?) communicates more with the mood than even with the lyrics that Kacy is an enigma even to herself (at least on the record). And yet this is a woman who is wholly anafraid as she sings [in "The Universe"], "I got a dream I gotta live it, plain old truth I wanna give it."

"Starting Over" reveals how Austin's eternal teenager is facing the fact that "she got older." One of my favorites, "Loneliness Stings," draws on that horseback riding knowledge but focuses on the caretaker for whom "there's no one to care for," whose solitary life is "just like living in a train car" -- and, yes, the message here hits home.

"Quicksand," which features the Tosca String Quartet and keyboardist Kevin Lovejoy, is the only track that is not just Kacy on acoustic guitar and vocals plus producer Billy Harvey playing all other instruments and singing backup. This is a song about the breakup of a lifelong love -- "I took you back to Amherst and I showed you where I swam" ... and what to do next -- "I'll take nothing for granted now I know the way that it works, everything eventually will be taken but your silence will be heard."

Billy is a longtime friend of Kacy's -- and listening to the record, I would love to hear his arrangements played by a live band. There's a lot of love -- and talent -- here. The record concludes with "Answers," an intensely personal song in which Kacy acknowledges that, "far and above the hardest thing is just to expect the suffering .... but there is love." Love, which here is much more than just human passion, is "the only reason I bother to .. get out of my house and wander the streets of a thousand strangers/dangers ...."

But then Kacy's been doing this sort of thing for decades -- baring her soul (Dylan style, someone once wrote), stamping her foot at anyone who says she is not worthy, past tense, or old news. And yet -- and yet, one has the sense that Kacy's best work is yet to come. One day she may receive the mantle from Eliza Gilkyson as a mature woman whose songs, and life, provide real nourishment for an entire community.

Kacy has upcoming shows on September 3 at Momo's and September 5 at Flipnotics. In a real sense, this is a brand-new performer, a person stripped of much of her own history and now wide open to tomorrow. She's traded in the baggage of a "scandalous life" to grow beyond just being a "badass" (cool a one as she was). Look for a brand-new Kacy to take off like a rocket!

Flanfire -- Bringing LIFE to Austin music.

2008-08-19T22:26:00.011-06:00

All That Jazz -- and Alt Country, Too!

Matt Hubbard at Ming's; Leah Zeger at the Elephant Room.

After four days in Arizona, it did the body and soul good to drop by the Elephant Room to catch a set from the Leah Zeger Quartet. The long-legged violinist (and budding fiddler) is, as we have noted before, a wonderful jazz singer who has assembled quite an array of talent around her -- that would include Pat Kennedy on drums, Ryan Bowman on five-string bass, and the amazing Matt Raines on seven-string guitar (his own design, by the way!).

The only thing better than Leah would have to be Fai Jow's great food at Ming's -- and a jazz trio featuring Matt Hubbard on piano, Eldridge Goins on drums, and Brad Houser on bass (WOW!) and baritone saxophone. Plus Matt did a soft-shoe dance as an encore, and promised an even better show on Labor Day (with the lovely Jane Bond and others too). Check out the Udon noodle soup (a Japanese dish, by the way) -- I had it with chicken.

On Tuesday (August 12th), we were privileged to be invited to the inaugural taping of Greg Garing's American Backroads Revival -- a 2-hour musical revue hosted by the illustrious iterant fiddler (guitarist, mandolinist, and more!) and his exuberant sidekick, the fun-loving Ruby Jane Smith. Guest stars on the program included Austin's own Shotgun Party, Leo Rondeau, Dustin Welch, Phoebe and Stephanie Hunt, Bill Carter, Mrs. Glass, Matt Downing, and Cousin Royann Cooper (from Nashville!) -- plus a cast of "characters" that included some of the sponsors and the really cute Shannon Patterson from Garing's own band. Willie Pipkin (guitar) and Howdy Darrell (bass) played with just about everybody -- and those fiddling females were all over the place all evening long.

Garing opened the show with "Dig a Hole" and "Simple Melodies," with Ruby Jane, Howdy and Willie. Then Shotgun Party performed "Pickled Eggs" and another song -- and then Phoebe Hunt (fiddler/vocalist for the Belleville Outfit) accompanied Dustin Welch (on banjo) on two songs before Ruby Jane and the house band did two or three numbers. All of this was quite good -- but the best was yet to come.

First, Leo Rondeau, with Burton Lee on dobro and Howdy on bass, sang the classic "Don't Fence Me In," and then with Katy Rose Cox from Shotgun Party on fiddle, blew the place away with his "Lousianne" (and yes he had his own dancers for this Cajun fiddle song). THEN, Phoebe and Stephanie Hunt (from T-Bird and the Breaks) joined Ruby Jane for three-part vocal and fiddle harmonies on Johnny Mercer's "Ac-Cent-Tchu-Ate the Positive (Mr. In-Between)," and Stephanie sang her own "Through and Over You," which she said was about high school and not some guy. It may be coincidence, but Bing Crosby and the Andrews Sisters recorded both "Don't Fence Me In" and "Mr. In-Between" -- but while the fiddling ladies are just as hot as the world-famous sisters, Leo's performance was much more reminiscent of the Roy Rogers version of this Cole Porter favorite (though Porter merely borrowed, with permission, the words of a poem written by Montana highway engineer Robert Fletcher).

Bill Carter brought out a full ensemble of players for Hank Williams' "Hey Good Lookin'" and another number, and then Mrs. Glass (whom you can also see in "Best Love in Town") flat out rocked the house with his Delta blues on slide guitar and rough-hewn vocals. And that was just the FIRST rotation -- Greg brought everybody back a second time, and it was like having bananas Foster after eating tiramisu! [Double dessert for the uninitiated!]

On this round we got more of Matt Downing and his flaming banjo (okay, it just feels like fire is coming out from that little round box) -- and did I mention the comedy? For the record, on at least one occasion, Phoebe, Stephanie, and Ruby Jane billed themselves as the Wild Flowers -- but do not hold them to it.

Now this is supposed to be the pilot of what will one day soon become a weekly show -- featuring all kinds of music (Garing plays bluegrass, country, jazz, R&B, and even electronica -- and who knows what all else?). But for now, the best we can offer is (when the site is back up) archives from the streaming video that was shown LIVE at http://www.eventjourney.com/ and http://www.tvknob.com/ -- sites hosted by Anthony de los Santos and Doug Watkins, respectively. I also have to tip my hat to my old pal Jason Richard, chief sound engineer for the show, and to the lovely Jaime, who worked very hard on the show and also plays snare drum with the Greg Garing Band.

Before I leave off here, I have to tip my hat to the Austin American-Statesman for its wonderful article on five young Austin-based bands -- the Dedringers, the Fire Ants, Belleville Outfit, Dustin Welch, and Ruby Jane -- and to note that members of three of these bands were featured on this debut show of Greg Garing's American Backroads Revival. Gotta also note that Phoebe, and then Ruby Jane, and now Ian Stewart of the Fire Ants are the last three holders (for a year) of the Daniel Pearl Memorial Violin!

And speaking of the Belleville Outfit, I caught them a couple of Sundays ago at Hot Mama's Expresso Bar where they were performing for a benefit held by John Grubbs that raised money to fight leukemia and lymphoma -- the event, "Blood Feud - Melinda's Revenge," was named in honor of John's late sister who was stricken by leukemia in the 1960's when just 4 years old.

The night before I just HAD to get over to the Hole in the Wall for the mid-summer visit home by the Lonesome Heroes (and what a show they put on). The show also featured sets from Chris Brecht, the revamped Frank Smith (no banjo, no girl singer, and louder guitars), and the McMercy Family Band (whose faux gospel music is hard to tell from the real thing). [Lindsey Verrill joins the Heroes on "Will the Circle Be Unbroken" -- AFTER she hd persuaded an entire roomful of beer-drinkers to join hands and sing "Amazing race" along with her band.]

Seems like a long time ago now that I trekked over to Thunderbird Coffeehouse (on Koenig Lane) to catch a set from the wonderful Tara Craig and her new band -- Marco Arroyo on drums and Wayne Decker on bass. Love her passionate, thoughtful songs (like "Hiding" and "City of Sorrows") -- and her gentle soul. That same evening I also checked out the Dimestore Poets (who are working on their FOURTH record!) at the Irie Bean and the soulful LZ Love at the Saxon Pub.

Another highlight was the songwriters in a straight line at Threadgill's Old No. 1 on North Lamar -- also known as Stefanie Fix and the four fellows, Dustin Welch, Jeremy Nail, Will T. Massey (whose new political album will soon be released), and Nathan Singleton (who played his guitar acoustic and sidesaddle). One of the many highlights was the duet by Jeremy and Dustin on their co-written "Forgotten Child's Cry." Word is there will be more of these events!

I continue to listen to Kacy Crowley's intense new record -- and will soon share my thoughts on the eternal teenager and wanna-be roller girl (see her "Badass" video) and her songs. Warren Hood's long-awaited debut solo album is also on the horizon -- and I am eagerly awaiting the Drew Smith CD release at the Continental early in September. And somewhere along the way we will be getting the tracks from Dustin Welch's studio work.

One more thing -- there is room in the Flanfire house for an extra person or two. North Austin near Emmis Radio (KGSR, KLBJ, etc.) -- and right off IH-35 and US 183. Has to be the right person! Also, we are selling our family's other house -- check it out at www.8111shenandoah.com and pass the word on to people you know who are looking!

Flanfire -- Bringing LIFE to Austin music.

2008-08-03T14:30:00.018-06:00

Better'n Grape Juice! The Dustin Welch Singalong Show!

Savannah, Dustin (with Drew Smith), and Kevin Welch -- it can't get any better than THIS!

Or maybe it can. Dustin Welch said "goodbye" to Mondays at Momo's in style a couple of weeks ago (okay -- flanfire is moving and had no time to write till now!) with about two dozen of his closest friends joining him on stage and singing their favorite Dustin Welch tunes. It was a fitting end to a year-long (plus) run for the young songwriter who is wise beyond his years (he admits to having had great teachers, including his dad) -- and indeed he is blessed with a sister whose voice is as beautiful as her soul.

Maybe it's the Tennessee, but Savannah Welch needs to sing a whole lot more in public. With Sally Allen singing harmonies, the slender songbird proved her brother right for encouraging (well, demanding) that she interpret "Dresden Snow," a song he wrote with her Dolly Parton like voice in mind. Dad Kevin got to sing the first song he and Dustin wrote together, "Glorious Bounties," and it was glorious indeed. And Dustin -- joined by a houseful of friends -- led the entire room in "Poor House" and "Don't Tell Em Nothin."

Highlights were plentiful -- Nathan Singleton on "Heartbreak" and the brand-new "Lost at Sea"; George DeVore on "Idaho Moon"; Suzanna Choffel on "Too Blue to Tango" (another new one); and Kacy Crowley just baring her own soul on "Two Horses." All amazing -- along with songs from Willie and Micky Braun, Dan Dyer, Johnnie Goudie, Bukka and Sally Allen, Jeremy Nail, and the incomparable Drew Smith. Special praise, though, goes to Jack Martin and Justin Wade Thompson (with help from Savannah) on "Whiskey Priest" (you just had to be there!). The packed house will long remember this wonderful evening!

Meanwhile, Dustin has a very busy schedule -- with upcoming shows at Momo's with Freedy Johnson and with the Dedringers, at The Oaks with Graham Wilkinson, at the Continental Club with the Heartless Bastards, and on August 17th at Threadgills with his dad at the Music March for Heroes. But MY favorite upcoming show could be Wednesday night at Threadgills Old No. 1 (North Lamar) -- with Stefanie Fix, Will T. Massey, Jeremy Nail, and Nathan Singleton.

Very quickly I want to mention some other shows I have seen recently -- and to note upcoming reviews of new music from Kacy Crowley and others. First off, maybe I forgot to mention in my review of the Goldcure CD that those boys can P L A Y !!! Especially when Stephen Doster joins them on stage (as he did at a recent Saxon show or two) to make it three guitars (most evident in the lengthy introduction to "Never Alone"). Then there was the lovely Charlie Faye with Jeff Botta on drums, Cornbread on bass (bread and botta, she mused) -- and Will Sexton and John X. Reed on guitars. That was also the night Aimee Bobruk turned me onto Jesse Sykes (and I stayed up till after 4 am listening to her ethereal music).

Speaking of Aimee, she's been doing a video for her song "Fools for Love." Even Flanfire wore a dunce cap at the Hole in the Wall for the shoot, but he was wise enough to catch her short set of brand-new songs a few days later at Momo's -- and wise enough to plan to be back at the Hole for happy hour with Aimee this Thursday.

It was also the same night I met up with Dominique and Niki, the two "blondes" from L.A. (okay, Dominique has a Texas driver's license and owns property here!) who played bass and drums twice this past week with Austin natives Kathy Valentine and Eve Monsees as the Bluebonnets. So I introduced the visitors to Justin Wade Thompson (one of my favorite young bass players -- and poets) and it turns out Dominique was already a fan of his.

So the next night I trekked over to Antone's for the girlie show (uh, lots of women playing music, including Paula Nelson and Carolyn Wonderland and legendary Beaumont native Miss Barbara Lynn) to catch the Bluebonnets and came away quite impressed. Dominique is also a very good singer (so I learned), and the whole band just flat rocked out. I somehow MISSED their Saturday night set at the Continental (but did hear the Mississippi based Blue Mountain), but one guy I spoke with later admitted that HE too wants a female drummer having seen Niki in action.

But back to Tuesday -- later in the evening at the Beauty Bar, the two beauties and their posse [here's Dominique with her makeup on!] showed up for a smokin' set by Justin, Nathan Singleton, and the Sideshow Tragedy. Drummer Jeremy Harrell (see photo) is the oft-neglected huge asset to this high energy trio.

The very next night I was back at Antone's for the Common Threadz benefit -- this nonprofit "marries apparel and art to make a difference in the world" through purchasing school uniforms for children in developing nations out of the proceeds from selling designer T-shirts. Caught sets from Blues Mafia [more next time on their Sunday set with Van Wilks] and American Graveyard (see photo). That millinery-making fiddle player (Sarah Stollack) is quickly becoming a major asset to this band (whom Betsy Moore calls her very favorite in the whole world, and she knows Austin music!).

One recent Monday night also found me at an early show at the Carousel to catch Seth Woods and the Sad Accordians and their sometimes eerie music -- songs like "Bottomless" and "So Slow" and "Into the West" (shades of Aimee Bobruk's new song, "No True West"). One of their new songs was an instrumental that reminded me of spreading apple butter and Nutella on fresh home-baked seven grain bread. Yummy!

I also caught up recently with my pals Jack Martin and David Lloyd Wofford at Beerland for the Austin debut of their one-time New York hot band, Cause for Applause, which also features Jeffrey Bouck on drums. David's vocals here remind one of Screamin' Jay Hawkins doing "I Put a Spell on You," while the band itself has been compared with Captain Beefheart. They play August 5th at the Beauty Bar. What great fun! Here's Jack playing acoustic guitar at a recent Momo's gig.

One final note -- jazz is alive and in increasing health here in Austin. One example -- pianist Nathan Hook and the Austin Jazz Trio, whom I caught at Jovita's a few days ago (with Max Frost on bass and Bowman Thompson and James Wiseman switching off on drums). Yeah -- all these guys are still in high school except the recently graduated Bowman, who will sit in with The Daze this Thursday at Antone's (after Del Castillo).

And Austin is also blessed with Austrian super guitarist Ullrich Ellison (no kin to Sims and Kyle), who is playing an early show at Momo's Wednesday with Billy Wilson and Latin at Heart. Ullrich, for the record, just won this year´s Downbeat magazine student award in the category "Best rock/pop soloist 2008" for his CD, "Tales from the Kingdom Electric." Having heard his music, I invited Ullrich out to hear Van Wilks on Sunday -- but my review of that show will have to wait for another evening!

Flanfire -- Bringing LIFE to Austin music.

2008-07-13T21:59:00.012-06:00

Ambassadors of a Higher Love!

3 bands.

3 new CDs.

A trinity.

Hmmmm.

So let's see.

We have here Lily (with Will Rhodes) and Will (with David Morgan) Courtney (children of the promise -- and of Ragan Courtney and Cynthia Clawson) and their wonderful band Brothers and Sisters -- at their CD release at Club DeVille.

Gotta say it was HOT -- gotta thank Ripe for filling in at the last minute, and Frank Smith for allowing Steve Malone and Aaron Sinclair [see photo] to play a generous acoustic set. The WHOLE band plays next on July 31st at the Mohawk (when I am sadly out of town?!%*&).

Maybe the HIGHLIGHT of the evening was the Brothers and Sisters grand finale (after they had played their entire new album, "Fortunately," straight through) -- an awesome version of America's "Sister Golden Hair" (who else but Lily Katherine fits THAT description?), a song that gave Ricky Ray Jackson ample room to show his stuff on the pedal steel. Ray also plays a guttral Fender (see photo) in this band, and as you can see, dresses for the occasion very well!

Will and Lily have been spoonfed real love from their very first breaths -- as children of the LOVE revolution that began with Sixties hippiedom and morphed into the Jesus Movement by the Seventies. Somewhere along the way (well, AFTER Will got tired of the LA scene) the siblings began singing together. The band itself has evolved -- the current (trimmed down) edition has David Morgan on bass, Greg McArthur on drums, and Daniel Wilcox on guitar and guitar and guitar (and more guitar, which is to say at Club DeVille he must have brought out eight of his vintage collection for the 16-song set). Honorary Brother Kullen Fuchs (who adds to the record along with Steve Bernal and Amy Mitchell) brought his Wurlitzer piano for the evening -- and one of his trumpets. And so, before a PACKED HOUSE on the outdoor stage (with the red dirt backdrop), Will and Lily led their friends on a journey to a simpler, purer time when life was good and you could hitchhike without fear or even sleep in Montrose Park.

Brothers and Sisters -- Fortunately

I flat out LOVE THIS BAND! Memories of Poco, the Beach Boys, Neil Young (just listen to Will's falsetto!), Crosby Stills and Nash too, and for that matter Chuck Girard and Love Song. Will in his songs is surely a spiritual (if not literal) child of the Sixties and early Seventies. Lots of heartbreak here, but lots of adventure too. Most of the songs here were not new to me (thanks to a recent Continental Club show and a couple others too) -- but there is something about an outdoor stage on a hot summer night that transforms this music into timestopping joy. And by the way, they DO have another CD release at Waterloo Records on July 16th (5 pm of course).

From the opening licks of "Mason City" to the fulminating crescendos of the title cut, this is a great ride. "Mason City" is like a Poco song except with the brother-sister harmonies that beg for airplay. "You're Gone" is a little edgier (more like CSNY), with some nasty guitar licks. Then there's "I Don't Rely," and the whole crowd is singing the chorus -- a little slower (think Jayhawks here?). This sets up the power ballad "Make a Man's Body Hurt," which makes me think a little of "Helpless" but has this amazing line, "back when being poor was kinda fun" that leads into "I'd rather die in a pauper's grave than lose this love that makes a man's body hurt."

"Can't Hold Me Back" opens with that early Jefferson Airplane dark sound (think "Blues from an Airplane") and has this line, "only time will tell if I'll accept your situation when you circumvent your hell." "The Wind" (which Will says is not likely to be heard live again?) is his purest Neil Young voice (as if singing a Dave Crosby song). "The Air Is Getting Thicker" opens with a pure Byrds 12-string sound but there's this tremolo guitar riff in the song that just takes off. "The Trees Are Bare" is a hilarious song about how hot it is in Texas -- and a duet in which Lily is making fun of Will's complaining. And, yeah, the song rocks! "The dead of winter but it's 85 outside ... " and the music is just as steamy as a hot summer day.

Will then takes us out to "California" in the fall -- riding the 101 up to the 5 and heading north to San Francisco, with the Ventures on the radio ... do I feel "McArthur Park"? This reminds me of Chuck Girard ... and the Mamas and Papas. [More simply put, I am 25 again!] Moving on, "That's How It Goes" is another of those numbers you just have to sing along to ... the way we used to sing to the Beach Boys, and yet there is this tough lyric hidden in the middle and a great guitar solo at the end. "Lonely Man" is a lament over winning fights but losing the one true love.

"Wash Away" is another of my very favorites .. the opening is classic! "Sunshine is here to stay," and a great muted guitar solo ... and then everything slows down ... low tide. We then get a short musical interlude before the very heavy "Fortunately," which ends with a spaceship type sound that drifts out into the stratosphere.

And while out there, I will relate a little story about the never to be named musician whose car was (a) not towed (as he first thought after not finding it), (b) stolen (as he thought after learing it had not been towed), but really moved by himself while hurrying around prior to a show. Reminds ME of the time I spent an hour in the Austin-Bergstrom long term parking lots looking for a car in Lot C that I had really left in Lot B -- at 1 am mind you. But we all get by with a little help from our friends (and friendly neighborhood airport security folks).

Goldcure -- Portuguese Prince

Now Goldcure -- the first of two Austin CD release parties at the Saxon midnight on July 19th for their "Portuguese Prince" CD produced with great love by Stephen Doster (who has been playing with the band at various gigs for the past few months). Bassist John Allison (shown here with Doster at the Saxon a few months ago) also plays guitar with T-Bird and the Breaks and one day may have to clone himself -- but his aggressive take-charge effort has helped this band gel. That is straight from founding members Craig Haskell (the blond) and Adam Buhrman (the brunet front man still thin from a recent 40-day fast) -- and drummer Gavin Inverso, the joyful one from the City of Brotherly Love (where else?). This band of brothers went back to south Florida last month to preview the record for the homefolks (Adam's, that is!) -- now it's our turn!

I have watched this band grow over the past 18 months or so since their arrival in town -- both as musicians and as people with a purpose. Craig allowed Adam's brother Steve to expose his heart in the pages of "Finding God at Momo's Music Club," a paper Steve submitted toward his Master's of Divinity from Oxford University. But that's the story of Austin music -- so many of our community lay their souls bare as they seek to communicate truth as they have learned it to anyone who really listens to what they are singing about. Goes back to Townes and Lucinda and so many others here -- how else can we all survive without exposing our wounds to the light?

The record also features Brad Hauser on saxophone, Brian Standefer on cello, Stewart Cochran on keyboards, Tom Hale on french horn, and Doster of course on guitar and vocals. With Doster's help, the band reworked a few songs from their earlier EP (made in Florida) and wrote a bunch of new songs too. Notable among the "oldies" are "It's Not Over Yet" and ""Never Alone" -- talk about an anthem in two parts! This is music that sets you back on your ears and makes you FEEL (not just think) about who you are in this world. You just wonder when they will do this mini-set with a full orchestra. "Lucky To See" is the other song you may have heard.

The album opens with "Too Long," which asks up front to, "Be patient dear" -- "I've been filled up with sin, I let it in, nice and slowly" -- and we shall soon see the deafening impact on the soul of losing one's faith and hope even when we have been "given everything I needed." The driving guitars provide a first premonition that life may be emerging out of a Rip Van Winkle-like slumber - but not just totally yet. "Portuguese Prince" may be a reference to Henry the Navigator, who ensured that captured slaves converted to Christianity -- but the backstory might also be the enslavement of a religion grounded in legalism rather than relationship, the kind that kills the spirit of a man. "It's Not Over Yet" is thus a tale about a man caught up in the ordinary that seems lifeless -- and "Never Alone" is the promise of a way out of the dark for a man who has realized that "something's left me now and I know it's gone."

Maybe my favorite song of all is "Rubber Inside" -- the rhythm alone is worth the entire record. "I can feel my heart it's all rubber inside ... like a fashion show ... like a blowup doll .. so empty now." What happens when your heart shuts down after a tragedy? How do you regain the ability to reach out and love when you are so horribly hurt? And yet ... if you can feel your heart, then you know you have to find a way.

"Stanley" reminds me of two characters played by John Turturro, Sid Lidz in the 1995 movie "Unstrung Heroes" (one of my very favorites, based on a true story) and Monk's brother -- a man whose loneliness is based on fears Then there's "Tired of Saying Hello" -- the end of a relationship, or of a life lived mired in the muddle of the everyday? "Make It Stop" continues the theme of not being satisfied with halfway living -- "the water's so cold but it beats feeling nothing at all." How does it feel when "I can't make my skin my own"?

The final cut, "Beautiful Disaster," shows the beginning of real hope -- "I drop my head to pray all day what I'm supposed to say, Get back up and go, and I'll be on my way ..." But how DO we get back to where we used to be? Get high? Stay up late? How do we find our way back to life? What a mess we can make of our own lives -- but if we just sober up, let go of our pain, and "wait a while" the future may be brighter than we can even know, even if our lives are wrecked. You can hear the hope more in the music than even in the words.... the groanings of old tired bones as they begin to sense a new energy in the joints and tendons. How does it work? Maybe we will learn more from Goldcure's NEXT record?

Infinite Partials - End of Begin

Infinite Partials, the brainchild of poet Grant Hudson and his singer-actress wife Amy Downing, is a folk-rock band built around Hudson's acoustic guitar and a percussionist (currently Jesse Jones) and enhanced with the THREE Andrews -- Noble on viola and sometimes mandolin, Strietelmeier on violin, and Davis on cello. The new record was aided greatly by the genius of Stephen Orsak (who produced Suzanna Choffel's last record) and also features Chris Sebastian on congas, Lindsey Verrill on bass viol and fretless bass, Megan Metheny on harp, and Orsak in various ways.

The band is on hiatus through the summer (too many players are traveling), but look for a bigtime CD release in September -- yes, there WAS an event of sorts on May 31st, purists! The band takes its name from Pythagoras:"The universe itself is one great string,vibrating simultaneously as a whole and as an infinite series of partials." The spiritual quest here is outright and open -- indeed, some of the songs were recorded at Austin's First Baptist Church.

Flanfire has long been a passionate fan of Hudson's explorations into deep waters. "Watch Yer Back" tells of the conflict between a father invested in the system and a son who seems oblivious to the need for carefulness -- remember, these songs are filled with strings solos and LOTS of words! A quick look at the cover art makes the point even better -- an entire city supported by the roots of a chopped down tree.

"Trying to Transcend" emerges out of a forest in the night with a question, how to make amends with a past I cannot defend? This is a beautiful song .. I'm looking over the edge, all my choices come to a hedge...." "Texas Song" speaks of the frustration of responsibility -- "I will block out my left brain, I will stand out in the rain ... I will call on all my pain .. but I cannot let that go on, there's a chance that I am wrong ...." and so it is easier just to "drift along, sing that same old Texas song."

"Almost Gone" opens with an instrumental quiet reflection that morphs into a story of two brothers, one of whom has run away, the other who wants to welcome the wanderer back with open arms. "We are there to help you though you act like you're alone .. You push us away.." How do we help those with mental (or spiritual?) illness to come out of the shadows? "End of Begin" is bass and cello driven but with a haunting fiddle solo -- speaks of a "dead city" and of "every day the end gets closer ... but your heartbeat brings me courage and makes a dream of reality," as our protagonist realizes there is no beginning and no end, "I am all I have to be." Musically, I feel like I am out on an open prairie in a schooner traveling west.

"Fear of Death" should of course be a dirge -- and it indeed begins with a long moan -- and then high tension ... as "lost in myself" our writer is "convinced I am alone on a spiritual plane ..." until "when I held you in my arms, the fear of death/love releases my memories of now..." And thus, "our only choice is to love each other .. and see all the ways as one in the same..." Which leads to "Eternity," with the mandolin pushing the music along and then the fiddle ... and finally the lyric ... "the end is laid before me and I turn around and face myself." And the promise -- that "we will fall asleep .... and wake into eternity." So why worry? This is just GORGEOUS!

"Scout" is a waltz, the backdrop for the lament of one who is "too fast to second and too slow to third, got nothing to say and I never was heard, got nothing coming to me and I'm too tired to give, My life is a joke, I've no reason to live." Here the lovely voice of Amy Downing is heard in a solo -- as she sings about "the purr of an engine that never goes cold." Does he realize?

"What They Want" opens with an eerie sequence that leads to the dark theme here -- "I pull myself in all directions" to give them what they want, but "I'm lost in the end, I run away." "Paranoid creations of the thoughts inside their heads bring strength to my resistance of their useless fulfillment, so I lay my body down and let them ravage me..." And so the question, If I die for you, "Will you resurrect me to let me represent you in the sky?" Is this about Jesus or just an average Joe caught up in the web of a loveless world? The answer is clear -- if we pledge allegiance to political sorcery, then we have made ourselves enemies of a kingdom of love. Grant here seems to be urging us to eschew temporal quick fix solutions to world problems and focus instead on changing hearts, beginning with our own.

The next song is a plea to the Lord to "Hang onto My Soul" -- this is almost old-style spiritual folk music, but with the strings, everything is new. In live sets, songs like these get the crowd going, and sometimes the shows can move into pure joy as everybody starts singing. And maybe even dancing. The finale is "World Soul," which opens here with a harpist ... and is the band's plea to "let me live free of the fear of my end ... let me paint the present with all the colors of the light... and let me begin to let your voice in and be." There is a message here -- that people who are truly free cannot be held captive by those who seek their own power and by inference that love is the strongest bond and the surest way to bring down tyrants.

What a record!

All three of these albums are emotionally draining but equally uplifting and strength building. And, for that matter, musically satisfying and challenging. And folks, there's a lot more here in Austin that makes this town more than just the LIVE music capital of the world -- we may also be the LIFE music capital of the world.

Flanfire -- Bringing LIFE to Austin music.

2008-07-12T09:27:00.015-06:00

T-Bird and the Breaks (Dancers Welcome!)
On the brink of a breakout show at the Scoot Inn (opening for legends Barbara Lynn and Bobby "Blue" Bland"), T-Bird and the Breaks rocked the house at Threadgill's on July 11th -- the band has another show at Momo's on July 18th with the Lost Pines and the Belleville Outfit -- what a lineup!. You know the band is good when the dancers cut across generational lines (and yes I was among them!) -- and when they dance ALL NIGHT LONG!

And why not? Ever since vocalist/songwriter Tim (T-Bird) Crane and guitarist Sam Patlove left their home in western Massachusetts for the golden shores of Lake Travis, the boys have been picking one four-leaf clover after another. Start with the hot backup vocalists (Stephanie Hunt and Jazz Mills), add in a blazing horn section (trombonist Matt Price, saxman Houston Rawls, and trumpeter >>), throw in Patlove and the amazing John Allison (also with Goldcure!) on guitars, and wrap the whole enchilada around the rhythm section of Marc Lionetti on drums (also with the Lost Pines) and Cody Furr on bass (who actually co-founded the Lost Pines) and you have 10-digit excitement all over the stage.

Much Love (also featuring Rawls and Price with trumpeter Scott Standing) really warmed up the crowd with a joyful opening set -- my first time to hear Matt Creaton and this wonderful band (more on them another time). But I had not see T-Bird in months -- and was psyched for the band that keeps everybody on the dance floor! First thing I noticed was the rhythm section -- the thump of the bass drum set the stage for everything else! The boys (and women!) paid tribute -- a little Funky Broadway, a new Al Green cover, and some Eddie Floyd -- but the scary thing is the songs you think HAVE to be classics are really their own -- Blackberry Brandy (destined to BE a classic!), Sunday on My Own, Plenty of Soul, and Tobacco Road, plus John Allison's Takin' All the Blame. This is a million times better than "Sweatin' to the Oldies" for weight and strength control -- and a whole lot more fun, too! [Photos: T-Bird; Bird and her fellow dancers; the Breaks' horn section.]

Of course, Flanfire has seen a LOT more music since his last post -- and yes there are reviews of the new Goldcure and Infinite Partials CD's (and more to come) on the way. There was, for example, the underattended Exit Festival (July 5th) which shut down BEFORE Skyblue 72 (Houston's power trio headed by singer-drummer Jessica Zweback, who were kind enough to lend me their blazing recent CD, "Feel My Way Home," that made me a lifelong fan) was scheduled to play (other bands, too, were bumped). Even so, I got to take in smokin' sets from Blues Mafia (with James Bullard and Aaron Lemke filling in for vacationing guitarist Max Frost and drummer Chris Copeland so well you hardly noticed they were gone), Patrice Pike (in the "treehouse"), Dustin Welch, Suzanna Choffel, and White Ghost Shivers. That very evening I dined at Botticelli's to the music of Joanna Barbera and her band and ended up at the Saxon for Wendy Colonna and HER band (with Chad Pope reaching new heights on guitar). [Photo: Johnny V with former Rock Camp students Kai Roach and Patrick Mertens of Blues Mafia.]

And speaking of Miss Colonna, I also caught part of her show at Central Market (photo), which on July 4th hosted a great show with Denmark's Paul Krebs, world traveler Troy Campbell, the feisty Dickie Lee Ervin, and Jenifer Jackson (with drummer extraordinaire Billy Doughty and his own fine voice). On one Wednesday I endured the bad sound at the Continental Club for Nathan Singleton but still had a blast and then trekked to Antone's for Ilsa's Birthday Party for a set by three-fifths of Blues Mafia (Sasha was stunning in her black dress -- shown here with pal Gracia Logue-Sargent who is excited about HER new music project).

Another great memory -- Leeann's Barn Dance featuring Jackson and the Iron City Soul Shakers and Nathan Hamilton and the one-time-only (please, MORE!) reunion of the amazing Sharecroppers -- with David Sawtelle, Mark Utter, Bill Palmer, and Felicia Ford -- with Kim Deschamps sitting in. The joyful crowd demanded a Jackson encore -- so Leeann herself stepped up for "Brown Eyes." Jackson is maybe the ONLY live music performer still at Ego's (Thursdays from 7 to 9).

So then there was the night I was at Momo's and ran into original Jug Band bassist Will Dupuy -- and HE said there has been some idle talk about creating "Weary Jug" -- so I thought I would show photos of former Weary Boy Mario Matteoli (who has a new CD out!) -- here backing Cayce Rose and the Mind Games (featuring her brother Derek Hatley and HIS daughter Bianca plus Dave Warren) at Roadhouse Rags (a venue I will begin to attend with frequency now that I have found it) -- and current South Austin Jug Band members Matt Mefford and Dennis Ludiker along with Noah (Nug) Jeffries and (not shown) Jugger Brian Beken in their Sunday at Momo's band Milk Drive. Someday I will write extensively about the Idaho (and Washington State) geniuses who have invited Mufft into their secret society -- but for now suffice it to say that they are all so good that Ludiker, who is the 2008 Texas State Fiddle Champion, plays mostly mandolin in this band, while Jeffries, who once made a good living teaching mandolin and fiddle, here shows off his emerging guitar skills. Now if they would only do a few songs you can play on the radio without bleeping!

Gotta toss in a few kudos to recent Austin visitor Braden Land (who hails from Tupelo and will be back soon) -- blew us away at Momo's happy hour but needs a full house! But if you REALLY want an late afternoon treat, get thee to Momo's for the Randy Weeks show (now THERE's a songwriter -- reminds me of Livingston Taylor). I got to see Randy last with Will Sexton and Rick Poss -- and once again I must remind my friends that there IS music at 5:15 pm most days at Momo's that is far better than what you are listening to at some dive bar -- and when it is not too hot, there is that rooftop patio.

Flanfire -- Bringing LIFE to Austin music.

2008-06-27T00:08:00.027-06:00

Drew and Dustin, Dylan Meek,

Clyde and Clem -- and Much More!

Drew Smith and Dustin Welch acoustic at Momo's; Alli Russell and Awna Texeira of Po' Girl; Clyde (right) and Clem at the Hole in the Wall; Suzanna Choffel and Chad Pope ham it up behind Wendy Colonna (too pretty to show here!); Jeremy of JT and the Clouds; Dylan Meek playing with Slim Richey at the Elephant Room.

So much music -- so little time to write. But here's a synopsis of SOME of the music Flanfire has seen and heard lately -- so much of it so very good. Let's start with THIS week's shows. Monday night marked the return of Dustin Welch to Austin from a songwriter's workshop.

The young troubadour broke out three brand-new songs during a thirst-quenching set (with The Will Evans Project playing before and Jeremy Nail afterward) -- Jolly Jolly Junker (with the full band), Too Blue To Tango (Tangle?) with You, and my favorite, (a good day to get) Lost at Sea. The set also included Idaho Moon, Empty Parking Lots and Don't Tell 'Em Nothin' (among others). The very next night Dustin teamed up with Drew Smith for a stripped down acoustic song swap that was like having fine wine and a good cigar after a five-star dinner. Drew sang "Nilsson Sings Newman," "Are You Lonely?," "Diamonds" and (among others) "You Help Me Get That Feeling Too" -- while Dustin sang the new songs, "Silver Pictures," "Dresden Snow" and "My Heart Don't Beat the Same." The rapport between these two close friends and great songwriters (according to Warren Hood, who plays Sunday night at Momos) was infectious -- the night ended too early. [A sweaty Will Evans playing electric for a change!]

The same could be said for Tuesday night's Po' Girl show, which once again featured JT Nero (in white, above) and a powerful rendition of "Who Shot Sam Cooke?" plus a song he wrote while driving on a cold day through northern New Mexico and the Po' Girl song "Prairie Lullaby." Alli and Awna (again with Ben Seidlinger and his hand-made dobro) opened with "Things We Believe In," brought up the Spankers' Famous Jake for a song, sang a few more and closed with JT's "Till It's Gone." The new record (crafted by Bukka Allen and his pals) is done, and sadly we may not see these amazing women for many moons (though JT promises an earlier return). An hour with these minstrels is like a shower in the rain with lavender and jasmine and pure honey.

From the sublime to the ridiculous -- twice in a month (at Flamingo Cantina and the Hole in the Wall) I have caught up with Clyde and Clem's Whiskey Business. This band of hillbillies (sic) has both been practicing and adding to their show (Skwerl has a new standup bass, everybody is getting into the singing act, and they have learned to break just about every guitar string in a single set). Kinda like a poor man's Spankers, Clyde and Clem, along with Skwerl, Old Red (banjo), Boxcar Stanley (washboard), and Smokin' Guns (harmonica) are bawdy, bold, and sometimes even on key -- but always entertaining (you can dance to it!).

On another night at the Hole, I caught up with Brent Adair who has been showcasing his new record, "Ostrich" and showing off the wonderful ostrich (shown here) made in honor of the music. Brent's backing band included Jeff Botta, John Leon, Derek Morris, and the inscrutable John Thomasson. I liked the quiet songs that reminded me a little of both Jeff Buckley and Rodney Crowell. On the same bill were The Century (Travis McCann's farewell show before he moves to St. Paul), and Juan Gutierrez was in bono vox indeed!; Slowtrain (Adoniram brought up Ricky Stein for a song); and Trey Brown (who gave me his new CD to listen to -- nice stuff!). ANd speaking of the Hole, Matt Meshbane (shown here dancing to Chris Brecht's music) is excited about booking weekday Happy Hour shows with some of Austin's best talent (including Hole heroes from the past).

I also caught up with Ricky Stein at Jovita's (band sounded great!) after checking out Matt Maye's new band at Hickory Street (after hearing Matt, Tara Craig, and Gina Chavez and also seeing Grace Pettis at Austin Java a few days earlier). Then there was the joy of Uncle Bruno, with Damon Garcia on sax (and his mom in the house!) spreading that Nawlins FUNK! And Momo's became a jazz club as my pal Fito Kahn banged the bongos for the Duane Carter band (featuring Carter on trumpet, Eric Calistri on guitar, Kit Holmes on piano, Steve Sargent on drums, and Dewayne Morris on bass -- songbird Lauren Kahn was missing from the lineup (she is my Blastbeat pal!).

After spending this afternoon watching "August Rush," I trekked down to the Elephant Room to catch up with a real-life prodigy -- new driver Dylan Meek, who is off for his fifth summer at Berklee in July. The ageless Slim Richey was on guitar (with Francie Meaux Jeaux on bass, of course), and the family affair also included Marcus Gonzales on trombone and the lovely Gaila Kenneally on vocals -- with a surprise visit to the stage by LZ Love (did I mention I had gotten to see her at Central Market on June Teenth?). LZ belted out Billie Holliday's "God Bless the Child," while Kenneally offered up "Blue Skies" and "Angel Eyes" along with a smokin' version (in Portuguese) of "The Girl from Ipanema." Slim and the band also kept the audience hopping with One O'Clock Jump. This was a wonderful hour of pure joy.

Upcoming shows of note include Dustin and Kevin Welch at the Continental Club on July 3rd, the Bellville Outfit, Warren and the Hoodlums, and then Noah Jeffries and Dennis Ludiker all at Momos this Sunday. Plus T-Bird and the Breaks at Threadgill's on July 11th (word is their upcoming CD is killah!). Sadly, I had to miss a great show (I owe ya one, Betsy) at Antone's last night -- Flatcar Rattlers and American Graveyard and Turbo 350 -- just so I could rest up and get this report out to all of you.

Flanfire -- Bringing LIFE to Austin music.

2008-06-15T23:36:00.005-06:00

Good Golly, Miss Molly!
I first heard the name Molly Venter when I was helping out friends with some shows at [] coffeehouse during SXSW week. I totally missed her showcase there, but she did hand me a five-song sampler from her forthcoming CD, "Love Me Like You Mean It." Next thing I knew, I learned that Miss Molly was a member of Body Choir, home to the much beloved John Slatin and to my old pals Laura Rose and Bruce. Then I went to Molly's CD release (done without the actual CD) at the Cactus Cafe and met Molly's brother Josiah (also a singer-songwriter).

By this time I was already captivated by this amazing woman, who spent months down in Guanajuato, Mexico, honing her craft and who is currently on tour on the East Coast. The photo here is Molly singing a brand-new song (not on the CD) and playing a grand piano at a well-known Austin address -- and Molly admits that she has a long way to go as a pianist. But she looks (and played) GREAT! It was on this day I finally got the full CD -- and now I can hardly wait till she is back in town.

Bukka Allen plays piano, accordian, and other keyboards on this wonderful recording, and Andre Moran the electric guitar. Rick Richards is on drums, and Michael Hynes on bass -- and Megan Melara lends her voice to a couple of these great songs. Hynes also produced and engineered at The Hideout, and the legendary Dez Dickerson (Prince and the Revolution, Starsong Records) oversaw the entire project for Pavilion Entertainment up in Nashville.

But all that is really important here is Molly's captivating voice and her SONGS! I have to start with "Good Mother," a woman whose story my own mom is living today -- "Would you understand me if I could not speak? Would you feed me supper if I got too weak? Would you drive six hours just to watch me sit and stare? If I got to that point would I even care ...." Molly goes on, "What is the essence of this soul, when the years have taken their toll, I am afraid, trapped in this broken mind, And all you can do is just be kind to me .. be kind ...." But at the end of the song, we are astonished by these words: "What is the essence of this life? Can you feel the joy beneath the cutting knife? I see you trapped in those pretty working minds, And all we can do is just be kind ...."

Molly begins the record with "Shaky Ground," a place she admits to being all too familiar with -- "As the chaos subsides, I am sorting out lies I have come to believe ...." Next she begs her man to "Love Me Like You Mean It" rather than "balk and ... back down" "like you're trying to keep yourself from getting burned." "Happier Now" is a song about growing up but on a deeper level of finding a love that is there "through my darkest night so black." "Write a Letter" is all about a romance going in the wrong direction -- "I don't know why we don't work, I don't know why we're still hurting and why we keep trying long after it stopped working." Personal stuff.

Same for "Tonight," "In the Snow," and "Playing for Keeps." Molly first says , "What I learn about myself is I feel solid as a friend .. I can tell you things that make me cry ... But I'm not as grown up as I try to be ...." "Snow" is just a sweet love song, and "Keeps" is actually about not playing for keeps. Which gets us back to songs that transcend -- In "Great Ocean" Molly notes that "I come to the choir with no part to sing, I come to the feast but my hands are empty, Do you have a firelight to keep the darkness out, Through all of this noise, do you hear me shouting?" Molly is writing this on the road, seven hours into an 11-hour drive, watching the telephone lines and thinking that her heart "is a hundred thousand lifetimes strong."

"Real Anymore" and "Hello Fear" both grapple with the larger issues, too. "Real" asks "What do you do when the veil is taken off? What do you see when the great whale has been caught?" Or to put it another way, "We are missing the heart of it, and shutting out everyone else" out of suspicion that leads all too often to real conflict. "Fear" confronts envy ("every time I bury you, you pop up in my face again"), craving ("it sets me up for feeling like a failure every night"), greed, loneliness ("I think I'll be facing you over and over and over again"), and fear itself ("my guess is you will stay forever .. but I know you keep me safe some of the time").

"Stars" is anthemic in both its scope and its energy -- after meeting an angel, Molly soars: "I am freedom, I am lightness,I am scared for him to go..." But the angel says, "I can't tell you anything you didn't already know." Indeed, as she sails along, the realization comes as the storm hits and the waves come crashing down -- "You have your moment in the mystic, You have the music in your mouth." And what music it is! After listening to this woman, whether live or even on the record, you will surely feel like wet laundry being wrung out and hung up to dry - with the glorious sun hitting you square in the breadbasket.

Dao Strom's Long, Strange (and Wonderful) Journey

The good news is that the new Dao Strom recording, "Everything That Blooms Wrecks Me," is a HUGE leap forward from her debut CD, "Send Me Home," which showcased her bluegrass roots as a woman born in Vietnam of a Vietnamese mother and American father who grew up in northern California and has written intimately personal -- and award winning -- novels and short stories. The bad news is that Dao is living in Alaska and that maybe not until winter there will be have a chance to be blessed in person by her wonderful songs and gentle aura. The good news again is that she is happy with her husband and handsome son Lincoln.

I showed the new record off to Lonesome Hero Landry McMeans, who of course hand-cut the wood in the jacket of the Heroes' new CD (not officially released yet) -- and she was as stunned as I at the hand-made outer jacket (an Alaskan totem photo affixed to this heavy brown textured paper), the equally awesome inner jacket (a birchwood paper with a photo of Dao), and the card that contains the song titles (a sepia photo, taken by Kyle MacDonald, of Dao amidst the wreckage of which she sings).

More photos on the sheet with all the lyrics -- and there we learn that the record was produced by (who else?) Darwin Smith, recorded by Jimmy Way in San Marcos (with Darwin adding more of his magic later on), and features her nine? year old son Lincoln on the final track. Musicians include Billy Brent Malkus (who first introduced me to Dao's music) on dobro and electric guitar, Darwin Smith and Kevin Fox on guitars (Kevin also plays bass, and Darwin adds bells, whistles, and vocals), Jimmy Way on drums, Joseph Santori on cello, Kullen Fuchs on accordian, piano, and Rhodes, Brian Beken on violin and mandolin, and the lovely Aimee Bobruk on vocals.

Anyone looking for another bluegrass record may be disappointed for half a minute -- but Dao's gentle voice and the amazing music -- and her lyrics -- will quickly turn doubters into shouters! Dao says that there are moments of darkness and moments of reprieve in these songs, just as there were in the experiences that led them into being. The songs come from California, the Oregon coast Baja South, and of course the Texas Hill Country.

I have to start with the stark a cappella "Traveler's Ode," which is the nearest thing to the Appalachian music Dao first started singing in public. And yet this song is about Dao's flight from Vietnam as a young child. Well, "Fields of California" is also a bluegrass song, with Brian Beken and Brent Malkus swapping licks on mandolin and dobro -- as Dao spins a tale about "a man who bears no secret 'cept the one that stole all hope from a girl he sees now falling, falling back ...."

The capstone of this record has to be "Only Angel" -- "Even the oceans can turn to rust and what'll we do with the salt and dust that is clinging to our clothes?" And that wonderful chorus, "If you believe we were made to love, then you'd be the only angel that I ever had a dream of, and I've dreamed about a thousand loves and they're all of you...." Santori's cello is all over this song, adding warmth that makes this song just glow.

But there is so much more -- "Caller of Spirit" (Dao's version and Lincoln's too -- "on a mountain in the moonlight, sitting down on stone for breakfast, I saw a caller of spirit crying if they don't forget to say, God smile"). The guitar work here is absolutely beautiful (both versions), and Dao sings these mystical lyrics about venturing "into dark territories" and maybe not making it all the way back ... "tightrope walking on a slack line, I never thought I'd fall this close to earth." "Slow" is a true folk love song, with fiddle (Beken calls it a violin) - a waltz, at that!

The title cut, which Dao says is "a halo spinning around one's heart, the curse of being able to feel but not konwing what to do in the face of suffering, the curse of being witness to but unable to alleviate anyone else's pain, let alone your own ..." This, too, is a showcase for Santori's cell0 and Fuch's piano work -- in juxtaposition. "Silver" Dao says is a song that honors her mother and all single mothers "walking a less traveled path." It was she who first told Dao that some of us prefer silver to gold -- "cuz what is wealth if you're always in need and you count on love more than you ever count your money?" Kullen is here on accordian.

"Sweetness" -- could this be a dual song about her man and her son too? "You bring me pictures becuz you don't wanna talke too much; Words were never enough to say all you saw and all the flowers you gave ..." "Seeds in the Ashes" Dao says is about "the hope of planting something, re-finding something, despite all of the wreckage we have gone through." Here we get another delicious taste of Malkus' dobro. Driving through the countryside near "Lebanon, Missouri," Dao remembered an old friend with whom she had once made a promise to meet on top of a pyramid but never got there -- until four years later their paths crossed again. This is the most electric song on the record. And yet even here the energy is masked -- Dao's music leaves us as if we had been gently hand washed with 100% cleansing cream.

Oh, and speaking of Billy Brent Malkus, fans of the Texas Sapphires ought to glom onto a copy of the band's new DVD (filmed by ME TV in April 2007), "Sorta Live from Austin, Texas," which has a dozen songs. Newcomers to the band will glory in the joyful singing of Malkus and the irresistible Rebecca Lucille Cannon -- and the rest of the band is smokin'. The band is also at work on a new set of songs that may see the light of day later this year.

Gotta go -- more on my musical ramblings next time. But don't forget to see Po' Girl one or both of the last two Tuesdays (at 7 pm at Momo's) this month!

Flanfire -- Bringing LIFE to Austin music.

2008-06-05T22:54:00.007-06:00

Nathan Singleton as an "Itinerant Youth"

One of the great blessings of living in Austin for young (or any) musicians is the opportunity to step outside one's comfort zone (as front man, for example) to play a subordinate role in someone else's musical journey. Learning to serve one another (or even to take out the trash left by patrons of the very clubs in which you play) is but one way toward the personal and professional growth that makes living in Austin worth it. Music afficiandos also benefit, sometimes directly, for example as one musician adds his or her own ideas that strengthen another's performances but even moreso when musicians building on trust begin to collaborate on songwriting and such.

One wonderful example of this musical sharing was the first of what are set to be several Thursday evenings at Opal Divine's Freehouse. Stefanie Fix has long been one of this writer's favorite songwriters -- from her early work to last year's "Crooked Smile." And yet I had not seen Stefanie's music so well interpreted (yes, her CD release was a great show!) until this week. Her new "summer trio" includes bassist/cellist Mark Williams (aka Gumbasso), whose other regular gig of late is playing with Austin Chronicle musician of the week Dan Dyer, and guitarist (and songwriter -- see below) Nathan Singleton (who with his Sideshow Tragedy band will unveil a new CD, "Itinerant Youth," at Momo's on June 13th -- just after 11 pm).

Stefanie is known for her slide guitar work as well as her challenging and emotional songs (which belie her shy, sly and often self-deprecating humor in person). Songs like "Holy Shit, Ma," her response to the airplanes flying into the Twin Towers in her beloved New York City, or even her brand-new one, dedicated to her six-year-old niece, in which she encourages her sibling's child to never let anyone get in the way of her dreams. Another Stefanie fan, a recent convert to Austin, eloquently pointed out that Stefanie's voice alone carries the weight of her songs. And yet her two first-time musical companions supplied extra energy and passion that made strong songs even stronger. Stefanie will perform solo on June 19th, but Mark and Nathan are due to back her again twice in July.

Earlier this year, we pointed out that Nathan and his band are hardly "sideshow" entertainers -- that they belong front and center on the big stage. With the release of "Itinerant Youth," we have even more evidence to demonstrate our confidence that these guys have the goods. Using the same producer as before (Gabriel Gonzalez, who also plays keyboards, lap steel, and 12-string here) allows a flow between the two recordings that clearly marks the artists' progress.

Bassist Justin Wade Thompson has already survived a major beating to bounce back up (and maybe even still do onstage backflips) and rock out harder than ever, and drummer Jeremy Harrell (another East Texas lad) were both chosen by Singleton for their on-stage intensity and thus their ability to amplify the intensity of his own music to frenetic proportions.

That passion comes through in spades from the very first groans to the final notes of this new recording -- which builds on the foundation laid earlier in "Borrowed Guitars, Unwound Hearts and Broken Strings," which writer Terry McCarthy described as a showcase for Singleton's "deep treatises on love and life." Now some writers will likely focus on the band's rocker numbers -- "A Pint of Whiskey and a Pound of Grace" (a chronicle of hard times on the road), "Pascal's Wager" (Singleton's running battle between true faith and "religion"), and "A Few More Days" (or why the hell am I in New York City when the one I love is a thousand miles away?).

Good as these songs are (and I have played this record straight through over a dozen times in the past few days), the song that just sticks in my craw is the ending ballad, "Thief in the Night" -- "love will come like a thief in the night, leave you broken, It will hold your life on the edge of a knife, Cut your heart open..." Then there's "The Fog in the City," which includes a paean to Baudelaire -- "And pain is just a flash, like joy, Just a dessert for your favorite meal, Nothing to hide or hide from, No one to lead or get behind, And this ennui is unbearable at times, Sometimes we lose our souls to save our sins ..."

Or how about, "Lady in Waiting" (cowritten with Dustin Welch, Jeremy Nail, and the lovely Rachael Craft), which opens with a death march drum solo that never quits, but merely allows the melody to rise above its implications ... "It's the same old mystery, Nothing but a cold heart beat, Distant faces passing by, Careless and killing time, Middle of nowhere tonight ..." And yet, "through the eyes of a perfect stranger she'll remember her face in the mirror." Anyone up for restoring the humanity of lost souls?

Singleton is, after all, an integral member of the Momo's music scene which budding theologian Steve Buhrman has described as one with "inherent spiritual and religious dimensions." Buhrman (whose brother Adam fronts the band "Goldcure") learned that Momo's co-owner Paul Oveisi acknowledged a responsibility "to create realities that are meaningful and fulfilling, to build a life and a sense of community that is true and authentic, and to live in such a way that blesses and does not harm the world that is our common home."

Thus it should not be that surprising to hear in Singleton's lyrics the lines "a fortress of faith" (from "The Fog in the City"), "thief in the night," or even the powerful message of "Pascal's Wager" (with Charlie Faye, Erika Maassen and Melissa Steely as backing choir) -- that the kingdom of heaven is here and now -- or in other words, that life is not about rules and gotchas, or (as he notes in the song) about "an all-access pass through those pearly gates," but rather about living each day in recognition of our own flaws and yet with hope. Of course Nathan would probably rather say he is just out to have a good time and play good music for his audiences -- or as he admits to Buhrman, "I play music to get myself off, and that's it" -- except (OOPS!) his own pals called him out as a man who deeply cares about conveying the truth that he is constantly finding to those around him and his music.

There is, after all, that infectious grin which cannot fully be suppressed -- and watching Nathan play with Stefanie (see the photo here) it is hard not to see a man thrilled with learning about this great life we have been given and eager to disprove even his own harsh theories and to convert the very ones whose falsities tarnished his young spirit years ago. Love is creeping in -- thus we have "Leaving Texas" -- the struggle between the old life of angst and the love that is so elusive and hard to recognize as coming from within -- "So let's not waste time [leaving Texas together], We'll be anybody but ourselves ... Let's go get lost far away." This on top of "Please Forget Me," that other side of the coin argument that I am just not good enough for you. And that may be why "Thief in the Night" is so strong -- as it ends with these words -- "Hold my hand, close your eyes, Don't look back, It's where we're going, It's not where we've been...."

Po' Girl -- Rich in Music!

Just another reminder that these two Canadian angels will be at Momo's Tuesdays in June (at 7 pm) while in Austin recording their new CD with Bukka Allen. On sale at these shows is a 14-song collection entitled "Unreleased," and some of these songs will also be on the new recording all dressed up. You KNOW we rarely write about anything but Austin music -- and yet these women capture the spirit of life that is what we love about our own scene. No wonder they are here now.

[From their own bio] -- Po' Girl will be holed up in Austin, Texas this June making the record that will almost certainly change forever the way the band is perceived. Many of the trappings of the trademark Po' Girl sound are still there - the echoes of speakeasy jazz, the western lament, the accordion-strapped ghosts of European folk --- but it's all delivered with a soulful clarity and depth only hinted at on previous records. And, friends and strangers, WE here in Austin will be right in the middle of this transformational project that just might launch these two darlings (and pal Benny Sidelinger the dobro maker) onto the world stage (not that they have not ALREADY played four continents). [And, yes, I am the guy who did not make it to the U2 show in College Park, Maryland, two miles from my house, back in 1982 or so -- all the more reason I urge EVERYONE to come out to see these musical magicians for love!]

And I leave you all with this photo of Betty Soo joining birthday girl Erika Maassen and the passionate Charlie Faye on stage at the Saxon.

Flanfire -- Bringing LIFE to Austin music.

2008-06-04T18:28:00.017-06:00

Blues Mafia To Be Wearin' the Green!

But Let's Not Forget June 19th at Stubbs!

Sasha Ortiz of Blues Mafia; Lindsey Robertson with Aaron Miller and Cory Dennis; Aaron Miller (vox) and Amber Dennis (keys) and The El Guapos horn section; The Diving Captain; The Audiophiles; Max Tolleson of Sea Fields of Elephants; [not shown: Team NEXT from Austin CAN Academy] - all winners at the Blastbeat Regional Finals at Emo's Lounge, but only Blues Mafia (plus the music management team from Akins High -- which includes members of the El Guapos) will be competing this December in Dublin, Ireland, in the Blastbeat world championships.

It was hot and sweaty at Emo's Lounge the last day of May -- but nobody cared. Four high school music management companies (from Akins High, Anderson High, LASA, and Austin CAN Academy) competed first for various prizes for entrepreneurship and effort in support of local musicians and worldwide nonprofit organizations that are offered by the Ireland-based nonprofit Blastbeat (http://www.blastbeat.org/). Austin School of Music was a cosponsor of the event, along with Strait Music and a host of other civic minded folks about town.

By about 2:30, the music began with a guest set from Super Pal Universe, whose TV pilot will soon be airing locally (and maybe even on a broader scale -- we are not quite sure). Six bands were competing, and three of them won significant prizes but all six will be featured on a DVD of the competition that will be sold in area high schools and perhaps worldwide starting this fall. Blastbeat, you see, has operations in South Africa, Slovakia, England, Ireland, Belgium, several American cities -- and more, with expansion in the works as fast as funds can be raised to support this innovative social entrepreneurship program built around youth-generated music.

The Audiophiles feature Ethan Banner on keyboards, Curtis McMurtry on lead guitar (and sometimes sax), and Stefan Peierls on drums -- plus rapper Franklin Ngbaragbor and bassist April Inez (Kaplowitz). Every member of this band is a real talent -- here's hoping they will be playing LOTS more gigs. Sea Fields of Elephants features Max Tolleson and Henry Gillespie (of Max and Henry) playing lots of different stuff along with "Manic Mike" and "Gentle Joseph" -- this is surreal stuff akin to the Yellow Submarine era (and yes, they did do a song about finding a burial spot for a dearly deceased canine, and yes, they do paint their faces). Music, art, and social commentary all rolled into one big fun-seeking quartet of young geniuses.

Team NEXT put on an amazing show -- so good they got to keep on going (largely because the entire afternoon's program was way ahead of schedule) -- and wowing the crowd with choreographed rap songs and crooner ballads. This band is really an extended family of kids who make up in hope and joy and high energy what they have lacked in material goods. The Diving Captain -- Jake "Snow White" Laughterstein, Colin "Sleeping Beauty" Jenkins, Erin "Belle" Teasdale, and Wells "Shaqueefa" Barber (per their own website) -- just flat out ROCK! High energy -- on and off the stage.

The El Guapos (see CD review below) are another family band -- two members [Todd and Jonathan Harris] are brothers, two others are brother and sister. Their music is infectious -- joy, adventure, and pure theater (the band opened their set with a choreographed dance ending with the opening of umbrellas announcing their new CD, "Birds. Birds! Birds?" You just cannot hear this music without dancing! Neither can the band!

Finally, Blues Mafia hopped up on stage with lead singer Sasha Ortiz wearing a brand-new dress which a friend had gotten for her in New York City. Maybe it WAS the dress, but the woman just owned the stage. [Maybe it was opening the night before for Malford Milligan and Pinetop Perkins up at Nunos on MOPAC; maybe it was the two great songs written especially for her by guitarist bandmate Max Frost; or maybe it was the fact that Max and bassist Kai Roach executed (for the very first time ever on stage) a perfect double leap!]

Blastbeat founder and CEO Robert Stephenson (unaccustomed to the heat here, to be sure) was nevertheless as cool as a cucumber - NOT! He was so excited by these great young bands that he was trying already to figure out how to take ALL of them across the POND! And that was before The Daze (featuring Evan Butts, Aaron Lemke, and Chris Ritchie) had closed out the afternoon with an absolutely SMOKIN' set! The entire show, thankfully, was filmed by the fabulous Infynit Media Group from Community Channel 10 under the direction of Mixtank's Brian Conway -- and, yes, we know about lots of other teenagers in Austin making exciting and creative music. And soon so will many many more folks.

The El Guapos Brought Back Pluto -- and NOW!

Birds. Birds! Birds? -- the new El Guapos eight-song CD -- is just pure joy. The opening "Move to Antarctica" through "Get Some Sleep" [lots of woh oh oh's and la la's with some falsetto thrown in] showcase the imaginativeness of this music. "Snow Blankets" is one of those songs that gets into your head and sticks around -- "cut away, cut away cut my chains away..." leading into "Who" power chord and some anthemic melodies and ending with some "la la's" and "I can feel my heart beating like a drum."

Next up are "Strange Dreams" and "Time Machines" (poetic, eh?) and then the song that grabs my heart -- "A Cathedral for the Sun." This is a flat out BEAUTIFUL song that opens with Amber Harris on keyboards and then some tender guitar and a glockenspiel that lead into even tenderer lyrics -- "my heart it aches for someone to sing to, and there you were just as heaven sent you," and the amazing chorus, "you are the one who has stolen my heart left a hole in my chest when I was in need of a heart, so you gave, you gave me yours ...." The song ends with the promise that "I'll cry for you when you're crying." Yeah -- there are two more songs -- "Shooting Flares from Ships" and "Hungry Ghosts" -- and some artwork by the versatile Amber on the front and back cover and even inside. Cory and Aaron engineered at the Indie Fort.

Rocketboys, Quiet Company -- from Antone's to Stubbs!

Indeed, it was with the El Guapos in mind that I strolled over to Antone's on Sunday night (after catching a bit of Phoebe Hunt -- hot black and white dress -- and her band, the Belleville Outfit) to catch sets from Austin's Quiet Company and Abilene's Homer Hiccolm and the Rocketboys. I well remember my first visit with these two bands on a quiet Sunday evening at Room 710 -- and a near-empty house.

No more. They packed out Antone's on a Sunday night this time. Taylor Muse (standing on his keyboard seat) is a dedicated rock star, complete with lots of slides, jumps and hot licks on both keyboard and guitar. Brandon Kinder (wearing the hat) fronts the Rocketboys, who barely beat out their longtime pals Quiet Company for a slot on last year's Austin City Limits Music Festival. Both bands just completed a lengthy tour and yet will be back in Austin at Stubbs on June 19th.

The Rocketboys also have a CD entitled "Sing Bird Sing," and that of course brought the El Guapos to mind. If you like power rock (Explosions in the Sky or Austin's own Summer Wardrobe, whom I caught at the Hole in the Wall earlier tonight), you would love these bands.

Phoebe sure has grown up since I first saw her at Alice's Restaurant "sitting in" with the Hudsons. Meanwhile, there's good news, bad (well, deferred good) news to report. Landry McMeans and that Rich Russell guy from the Lonesome Heroes are off on tour for most of the summer (they DO play the Hole on August 9th) -- we will miss their joy. But every Tuesday (at 7 pm) at Momo's Austin folks can get to hear the wonderful Canadian women (Alli Russell and Awna Teixeira of Po' Girl), who are in town making a record with Bukka Allen down in pest-free Buda, together with drummer Austin Cooper and his cohort from Olympia, Washington, Benny Sidelinger, who brought along one of his hand-made dobros (and one of his guitars) to play. The fortunate few got to see Po' Girl and Chicago-based special guests JT and the Clouds (in town for the recording, but back with their full crew not too far away in the future we hope. I also got to catch a set from the fabulous Charlie Faye at the Saxon, with Matt Mollica, Joe Humel, Will Taylor, Erika Maassen, and the wonderful David Holt on lead guitar -- and Betty Soo (fresh from her New Folk win at Kerrville) sang harmoniees too!

Flanfire -- Bringing LIFE to Austin music.

2008-06-01T18:42:00.012-06:00

Gary Newcomb: Man of Steel!

Gary Newcomb has been a busy man of late. Take Saturday -- showcasing his brand new CD, "The Gary Newcomb Trio" together with Outlaw Billy Doughty on drums and Brandon Gonzalez on electric bass, and then after enjoying a set from a stripped down Brothers and Sisters (just five pieces!), hopping back up on stage for an extended set that welcomed back the ENTIRE Li'l Cap'n Travis to the Austin stage. So after a few hours' s sleep (maybe!?), Gary was back at it on Sunday morning at Jo's Coffees with the Brothers Lazaroff and later Jo's House Band. Then he was off to play the national anthem at a Roller Girls contest. Just one full day's work for the MAN OF STEEL!

Austin is famous for pedal steel players -- seems like there are DOZENS of legendary players who have semi-retired here (which means they play just three or four nights a week), and others who pass through here from time to time. No way to rank these guys -- but one thing is fo' sho' here in this town -- NONE of them can sing and write those lazy, crazy, hazy daisy summer songs like Gary Newcomb.

But first some props for the artwork on the CD jacket -- by Matt Kinsey -- and the design work by Geoff Peveto of the Decoder Ring Design Concern. And, yes, this CD was recorded on 2-inch real tape at The Bubble (but enough techie stuff). This is DANCIN' music -- of the 1950's kind.

Maybe my very favorite is "For the Birds: Bluebird," with its amazing (unearthly) solos (did I mention this is great makeout music!) -- " ...and there's the tragic story of the one who died in vain becoming the bird of fire rising from the FLAME. So if you're lonely baby and you don't know what to do, just listen to the wind, something will come to you ..."

The CD begins with the quirky "Firefly" -- "how can it be that you are a whisper of affection from afar, or are you just a piece of fallen star, I could never keep you in a jar." Next up we learn that Gary is "Too Sensitive," and did I mention how well the rhythm section lays the foundation from which Gary improvises all over the place? This song, though, is dreamy like lying on your back and watching the clouds go by. And then there is the "Open Prayer of a Horse Thief," the first of many songs here that showcase Gary's wit and wisdom (not far from the Far Side!) -- "A man must have a trade, have a bed in which to lay .. I took what should have been and made it mine .. O driver wake me up on the other side." This is a great tune!

"Snow Day" -- takes us back to grade school -- but "Helen of Troy" takes us somewhere else! What a trip it is -- funky, smoky -- and all of a sudden a carousel! Billy's drumming is HUGE in setting the tone here ... and did I mention this is a beer (and whiskey and wine) drinking song? Next we go on a journey down to "Sycamore Street," where "it's all milk and honey," maybe in the 1890's? There's this kid wanting to buy a music box and a bouncing ball -- and maybe a marionnette... and more. [I can just hear Donna Fargo doing this one!] Yeah, this is a waltz!

Okay -- I am NOT going to tell you any more about the other songs -- you will just have to buy the CD (and you should RUN RUN RUN to get one). This is WONDERFUL music, timeless and pure and amazingly childlike. [Okay! Gary does take us off to "The Greyhound Races," and we can just watch the dogs running silently and sleekly around the track.] And "Lazy Eye" is the closest thing to a real country song on the whole record; you can two-step to this one. "Late, Late Last Night" is yet another love song (and of course another waltz).

And then there is "Daisy Don't" -- a shuffle to be sure, but with some odd twists that might frustrate the "average" Broken Spoke dancer (but not the real pros -- and the Lawrence Welk dancers would have had a field day!) "Local Honey" is totally a pop ballad -- no country here. Finally, Gary reveals that he has always been "One of the Wild Ones" -- as if we did not know (after all, he does hang out sometimes with Rich and Landry and the other Lonesome Heroes). Sure, the song says "you" are one of the wild ones staring into the sun -- but we know. Brandon on bass just kills on this number ... which the Heroes MUST COVER!!!!! This is travelin' music.

What a TOTAL feast Gary Newcomb's set was at the Continental Club. But gluttonous us -- we had another two-plus hours of music left (that for me after eight bands in showcases all afternoon, but that's ANOTHER blog story). The beautiful Lily and her gregarious brother Will -- Brothers and Sisters down to five pieces (David Wilcox on guitar, David Morgan on bass, Greg McArthur on drums - right?) -- just as good as ever and with a brand-new CD due in July! How sweet it is!

And the night had really just begun. Jeff Johnston's entire family (or so it seemed) was in the house for the first of what promises to be MANY shows by the re-formed Li'l Cap'n Travis! And Jeff brought down the house when he switched from bass to guitar on "Wichita Lineman,"which Jimmy Webb wrote and Glen Campbell made famous -- but Jeff now owns. The versatile one also took over on pedal steel while Gary Newcomb (equally versatile) showed his lead guitar chops! I could not, of course, write about this show - I was too busy dancing all over the room tired as I thought I was. Everybody was overjoyed to see the angular form of C. Christian Braafladt back on the Continental stage and to hear the harmonies on these immortal songs.

Gotta save some props for the Brothers Lazaroff -- David who lives in Austin and Jeff who (still) lives in St. Louis (who brought down the guys from his band there to play here a few shows). Brunch at Jo's featured in the band the lovely Elizabeth McQueen (and hubby Dave Sanger on percussion) and the immortal Lindsay Greene playing keyboard and accordian (Jeff had brought Teddy Brewkins, his amazing bass player, and drummer Grover Stewart); Jerry Hagins on (unmiked) banjo, and of course the ever-present Gary Newcomb on pedal steel.

This was a collection of songs mostly NOT on the band's "Pure Delight,"and featured an oldie, "An Image Through a Row of Trees," "Union of the Soul," and "Let It Be Love" -- all amazing. Elizabeth has been covering the brothers' "Dreaming" so naturally she sang it at Jo's. Jeff has this voice that is better than a massage -- well, almost! What a great morning with my pal Jack.

Flanfire -- Bringing LIFE to Austin music.

2008-05-29T22:56:00.011-06:00

Chris Brecht: Somewhere Between Bob and Townes

Chris Brecht on stage at the Continental Club with Broken 45's bandmates Matt Mollica (Hammond), Bobby Daniel (bass), and Ricky Ray Jackson (pedal steel) -- and drummer Billy Doughty (not shown).

It is always a joy to listen to Chris Brecht -- whether with his full band (at the Continental Club for his second CD release of the new disc "The Great Ride") or solo (at Jo's Hot Coffees on Memorial Day at a benefit for the Green Corn Project).

The quirky Coloradoan with the unkempt sandy hair and infectious smile is one of a generation of new poets who are fast becoming legion here in Austin -- Nathan Singleton and his bandmate Justin Wade Thompson, Jeremy Nail, Dustin Welch and North Dakotan Leo Rondeau are just a few -- who have found music as the medium to deliver their visions, observations, dreams, and real life experiences.

First time I heard Chris (after knowing him a while) was at a Ham Jam evening. We were all sitting out in the atrium and Chris was singing songs that sounded like the Freewheelin' Bob Dylan -- and then pal Graham Weber actually DID sing a Dylan song as if to emphasize the point. Chris also plays harmonica -- and on stage he often seems to be in his own reverie ... you are just waiting for his self-deprecating witticisms that are what distinguish him from the fellow we met in "Don't Look Back." But the quality of the writing is just as good -- and getting better.

"Better Grab My Coat" is on the new CD -- yet another of those would be love songs that end up showing the sadder side of romance ... "when the midnight screams it screams at you, when the snow falls hard, it falls for you .... I'd better grab my coat, it's gonna be cold without you." But a song Chris did at both shows I saw this week, "Oregon," is not -- and it may be his best yet.

Then there are those great tunes that first drew my attention -- the amazing "Reading My Mind" ("Remind me of your blue-eyed son who's been walking for miles and is still not done ... SAD one you've stayed too long, outside the crowd your time has come ... as a hard wind blows through the alleys of our clothes, If I hadn't seen you come I could never watch you go."

Did I mention players? Chris has had help from guitarists Brad Rice, Gordy Quist and Chris Masterson, the wonderful Eleanor Whitmore, drummer Stephen Bres -- and various others. Rice (now in Keith Urban's band) co-produced the album, which was recorded at Bismeaux.

But back to the songs -- "I Played Cards with the Devil" ("meet me on 4th Street in the rain where the Cowboy Junkies play, when you said to me, 'come inside,' you stepped into the light and I saw the devil in your eye" -- THIS SONG FLAT OUT ROCKS! [Of course, Chris left it off the record even though the lyrics are posted! But you can find it at his myspace page for now.]

Or how about "A Song about Lightbulbs"? "I haven't got the fog of time I must be out of my lightbulb mind, the streets are a jungle and I'm going after you bilnd as the crowd of people that I'm diggin' through." Or "Dead Leaf" (another sad love song) -- "Moonlight tears where the night mind dies, I cannot sleep against the grains in my eyes, shelters of hope to create new lies you ain't nowhere, there ain't no lines, if your cross of a vacant road I can't help you, I'd rather watch a dead leaf blow."

OR "Absinthe" -- "Said the window to the northern rain, I could touch her poetry but it's not the same, even a whisper can't calm her down, I look into her eyes but she's nowhere to be found..." And another favorite (with a key line borrowed from Gary Snyder), "Night Highway Ninety-Nine" -- lots of harmonica here, too -- "Hemingway returns with a typewriter burn and no fixation for death, sunflower sun is hard on her skin, I'm sinking in all the way to the sea." And of course, "By Train" -- just how many verses there really are to this one depends on which ones Chris remembers (or adds on the spur of the moment?) on a given night.

We always seem to think that musicians who are in Austin today will be here forever -- and Chris seems comfortable in his skin here, true, but how can we deny that this guy just might (just might!) be swept along down the road only to play here once or twice a year before long? Pathos, insights that touch the hardest heart -- vulnerability -- not Dylan at all but more on our own plane and yet ethereal too ... closer to Townes maybe, but Chris is downright hopeful and focused on getting his poetry out to people who can identify with the places where he's been (or at least has seen up close enough to report so well).

I have already reviewed Fluoxetine's new CD, but had not seen the band play live until the other night at a birthday party for singer-songwriter (and band leader) Ryan Morris. The beautiful Erin Ivey opened (that woman grows on you song by song -- and it's maybe more the warmth she exudes than anything else, but you really want to be with her as she heads off to Zambia later this summer to teach AIDS orphans) -- and if you like jazz, check out her duo Grand Hotel.

But back to the band -- Landis Armstrong on guitars and vocals, Amy Hawthorne on bass, and a pinch-hit drummer whose name escapes me (Ronny Haas got a day job in Oklahoma that pays really well!). This band is a lot of fun -- they even brought out the smoke machine!

Amy and Landis rockin' out!; Ryan Morris in a fog!; and who does not love Erin Ivey?

Now I have seen a LOT more music in the past few daze -- notably the amazing Dana Falconberry at Clementine's (hanging out with my pal Jack), the Lonesome Heroes (with Chris Brecht) at Jo's for the Green Corn Project (the folks who help you grow your own ..... food!), Dan Dyer and Drew Smith (not to mention Dustin Welch and Jeremy Nail) at Momo's -- love Dan's energy and vocal power, love Drew's new sound). And more to come -- a review of Nathan Singleton's wonderful new record -- and a shout out for a new project by Chad Tracy.

But before I go I have to put in a plug for the BLASTBEAT REGIONAL FINALS -- with the winning band getting a trip to Ireland in December to compete with and meet fellow musicians who happen to be teenagers from Slovakia, Belgium, South Africa, Ireland, the United Kingdom, and even Los Angeles and New York City (and maybe a couple other places, too!). Contestants include --

Blues Mafia (of whom we have written extensively, featuring Sasha Ortiz on vocals)

Sea Fields of Elephants (featuring Max Tolleson and Henry Gillespie)

The Diving Captain (featuring members formerly of the Frets)

Team NEXT (an extended family of hiphop and soul singers from Manor mostly)

The Audiophiles (Curtis McMurtry, Ethan Banner, and Stefan Peierls)

The El Guapos (who will also be releasing their new CD, "Birds. Birds! Birds?")

The entire show (which also features guest sets from Super Pal Universe and The Daze) will be filmed for a DVD to be sold in Austin area high schools (and elsewhere) next fall by music management companies organized by Blastbeat (http://www.blastbeat.org/) and in partnership with the Austin School of Music and Rock Camp Austin. Also competing on Saturday afternoon (starting at 2 pm at Emo's Lounge) will be four music management companies (from Austin CAN Academy, Akins High, Anderson High, and LASA) who are also vying to win a trip to Ireland for the world finals -- these are the kids who put together the concerts, promote them, sell T-shirts and tickets, film and write about and publicize the events, all through a program created by Irish music industry veteran Robert Stephenson as a nonprofit whose goal is to help jumpstart a new generation of social entrepreneurs.

So get out there -- and if you cannot, then get ready to buy a CD next fall. Or invite these bands to play your own parties and shows. Unlike the multitudes who descend upon Austin every month (or so it seems -- and we do not in any wise discourage this in-migration) these are all homegrown musicians who are just starting to reach their own generation (and older folks too).

FINALLY -- I could not fail to report that the Hole in the Wall ACTUALLY has (thanks to its new owner, who hails from El Paso) A REAL SOUND SYSTEM! Check out the sound board!.

Flanfire -- Bringing LIFE to Austin music.

2008-05-14T23:56:00.014-06:00

Steve James, the Shake'em Ups, and C-H-I-L-I!!!

Katy Rose Cox and Jenny Parrott of Shotgun Party with the well-stuffed judges who chose the winning chili during an all-day picking party at the Oaks in Manor -- Steve James was the headliner and he did not disappoint. Below -- Chainsaw Vaughn Walters and Sly "Hot Dog" Barrack of the Shake'em Ups; Vaughn and Burton Lee with Suzanne Hall.

The winning chili, by the way, came from Yvonne Coffee of the East End Craft Gallery, while Dustin Welch (raised in Nashville!) came in second.

The chili cookoff was just one highlight of a great day in the country (perfect weather, too!). The Fundamentalists (shown here at the Green Mesquite with special guest Seth Hulbert -- Brennen Leigh, Silas Lowe, Justin Kolb, and Matt Downing) opened the show with their rare and precious bluegrassy gospel tunes gleaned from a long-forgotten Americana. Next up was Leo Rondeau (shown here with Burton Lee at the Scoot Inn), whose songs come from North Dakota's Turtle Mountains and his Native American heritage.

Somewhere along the way, we had sets from Brennen Leigh and Shotgun Party -- and then it was time for a history lesson from local treasure (and world traveler) Steve James. Singing and picking (and story telling) with a single mike, Steve held the crowd of young musicians in awe -- well, except for Silas Lowe, who jumped at the chance to perform a mandolin duet with the man at whose feet he has been learning new tricks (and great stories). To this writer, Steve James is in a category of players that includes the late John Fahey and (what the heck!) Mambo John -- amazing on his instruments and larger than life.

I recall that Rosie Flores, JWW and the Prospectors and Mike and the Moonpies (led by Houston-raised songwriter Micheal Harmeier) all played fabulous sets (maybe I still missed someone), but I had to split for a while and got back just in time for Dustin Welch and his band. By that time the chili was long gone -- but the music lingered on.

In what quickly became a whirlwind week, I stopped by the Cactus Cafe to catch the beautiful Molly Venter at her CD release party (but to actually GET her new CD you will have to catch her in between road trips -- and wow what wonderful songs she has!). Later that evening it was the Hole in the Wall where Seth Hulbert noted he was playing geetar for current Delaware resident (and chili cookoff attendee) Jim Trainer. [Also on that bill was Tom VandenAvond, one of a growing number of Wisconsin natives gracing our fair city. I will have to write more about this guy, whose songs are just darn good!]

Suddenly it was Saturday night -- and Leo Rondeau time again, opening the show for the Lonesome Heroes CD release party. Here, Landry McMeans shows why her dobro is one of Austin's favorite instruments -- it provides the backdrop for songs like "Canary" and "Stardust" off the new seven-song release as well as oldies like "Oyster" and the band's ode to roasted tofu. Bandmates Sarah Stollak (fiddle), Jeff Johnston (bass), Chuck Fleming (drums), and of course super-hero Rich Russell never fail to leave their audiences crying out for more. Yet on this night maybe the bigger news (and noise?) was the return of Li'l Cap N Travis (marked by the return of Christian Braafladt, word is the band will be playing new shows besides this one!). [Yeah, that's Jeff Johnston playing Gary Newcomb's pedal steel on a couple of songs on which Gary sizzled on lead guitar. And BTW, does anyone else see Jeff playing the lead in the Kris Kristofferson Story?]

But back to the Shake'em Ups -- who of course also played at the Shotgun Party Chili Cookoff at the Oaks but ALSO played Monday night at the Hole in the Wall (and who will soon embark on a three-week East Coast tour). The very handsome bassist Andrew Thomas Austin-Petersen (who also plays dobro and is also a cellist), who hails from Wisconsin (by way of Iowa), offered me a slice of pizza on Monday night when I stopped by to finally get to hear cutie pie Suzanne Hall (who recently escaped New York City) at the Parlor (great pizza, too!). Noting that Vaughn was sitting in on bass with Suzanne (whose lead guitarist, Pal Moore, was pretty awesome for a Mississippi boy), Andrew mentioned that he and Vaughn had to rush over afterwards to the Hole (where I had already planned to stop by to catch a set from Maria Mabra and her wonderful band Corinne Rose). Well, naturally that meant another late night for me!

The boys had promised to play 30 songs in a 90-minute set -- and then they added a few. But wait -- I have to say that Maria's band has never been hotter -- Scott Stewart, Jason Enright, the amazing Billy Cook, and a new fiddler who hails from Chicago (it was also Jackie's birthday). For a Seattle punk rocker who grew up in Yellow Springs, Ohio (and who is fighting the closure of her hometown Antioch College), this gospel-singing landscapist is one amazing singer-songwriter (I cannot say publicly just how good she really is on the drum kit -- while singing!). Some of Maria's songs (Corinne Rose, Goodbye) are just breathtakingly poignant, while others just knock you backwards -- more people need to get to know (and listen to) this amazing woman.

OKAY -- here is the kernel of truth. The Shake'em Ups may be the hottest quasi-bluegrass band to hit Austin since the Greencards, and they are certainly one of the most entertaining. And joyful. You should have seen the wonder the boys expressed at seeing their band name on the marquee at the Hole in the Wall. Sly and Vaughn also play (along with Burton Lee) in Horse Opera, and both write songs that come straight out of their Appalachian upbringing (Vaughn in West Virginia, Sly in rural Virginia). I am so looking forward to the night they first show up on stage with former Spanker Sick and his anticipated bluegrass on speed project.

In passing I will mention a nice set on Sunday at Nuno's on MOPAC by Blues Mafia (with Phillip Roach sitting in on guitar on one song), my first take on the BIG VOICE that I never knew Ally Means possessed (this woman has to get some jazz players to work with her!), and my brief visit to the Hole to catch part of a set from the Down Here Band (more cheeseheads -- well at least I know they are Schlitz drinkers). And with senility fast approaching I probably totally missed mentioning much more good stuff.

But I cannot sign off without noting the tornado night songwriter showcase at Flipnotics featuring the Oregonian Raina Rose, New Yorker Joanna Barbera, and our own freckle-faced Vanessa Lively -- all assisted magnificently by the afore-mentioned Sick on fiddle. Vanessa is getting better every week at building a community of songwriters -- and so she brought Joanna and Raina together for their very first time to hear each other's songs. Joanna also had help from singing partner Ann Sauder (who showed up with bunny ears and kept them on as she sang harmony on songs like "The Forgotten Trail" and "Beautiful Life." Vanessa charmed with "Leaving Salinas" and "Jesusa" and more -- and Raina -- GOOD GRIEF! -- with her new Baird Blaine guitar sang THREE songs about tornados .. and anthemic poems like "For the Good of the People" and "Badlands." Vanessa and Raina and FOUR OTHER WOMEN do it all again on Thursday night at Cafe Mundi!

Flanfire -- Bringing LIFE to Austin music.

2008-05-03T21:05:00.013-06:00

Celebrate Austin's Latino Music!

Who wouldn't be dancing to Vallejo?

Okay -- May is officially Latin music month in Austin! Even before the huge Cinco de Mayo celebrations kick in, the Austin Latino Music Association (in conjunction with the Austin Convention and Visitors Bureau) has released what may well be one of the BEST collections of music ever put together here -- "The Sound Is Brown."

The CD was unveiled last week at the Gibson Guitar showroom at a VIP event (attended by yours truly) that featured music from Joel Guzman and Sarah Fox and Vallejo (that's valley joe in Alabama, where the lads travailed after leaving their native El Campo). All day long Channel 8 featured our pal Gina Chavez frolicking to the sounds of her song "Embrujo." But the crowning event will be the Pachanga Festival on May 31st at Waterloo Park -- we will figure out how to run back and forth from the big Blastbeat-Rock Camp Austin battle of the bands at Emo's Lounge that same day. My friend Sarah Wimer says that NOT TO BE MISSED is a special performance by Mexico City's La Conquista -- these ladies are spicier than the Spice Girls! And, yes, the ladies have adopted Texas as their second home!

Back to the CD (which I am told is available for $18 and well worth it)! This music never stops -- from Vallejo's "Sweet Maria" to Ruben Ramos' "Mi Prietita Consentida (Sw Que No Debo Querrette). WHERE ELSE can you get this kind of compilation -- Del Castillo, Alejandro Escovedo, Grupo Fantasmo, Patricia Vonne, Rosie Flores, Rick Trevino, David Garza, Cienfuegos, Charanga Cakewalk, Gina Chavez, El Tule, Boca Arajo, Mary Welch and Los Curanderos, Cerronato, Vitera (that's Hadyn Vitera!), Maneta Beto, and Kanko. And if you THINK you know which of these performers is your favorite (or "best"), think again! Every song is a HUGE HIT -- and every band is different. Just get it -- and get out to some of the shows highlighted on the ALMA website [ www.austinlatinomusic.com ].

Moving on, last weekend was full of celebrations -- my old barefoot bass player friend Doug Dillon paid me a visit and we went out to Evangeline Cafe (yum!) to hear Jim Patton and Sherry Brokus of Edge City with special guests Jon Sanchez, Ron Flynt, and Sweet Mary Hattersley [there's jim without a mike singing amidst the crowd!].

Then on Sunday, Doug and I were guests at the Harmoni Kelley [gushing!] birthday bash at Club De Ville. Two pretty fair bands - McLemore Avenue and the Greyhounds - were bookended around the amazing Suzanna Choffel, who had to do without newlywed bass player Johnny Vogelsang (congrats, dude!) -- which meant we had to "suffer" through bass by Brad (bass) Houser -- with occasional keyboards from magic man Mark Addison and Dave Madden [can you believe this untouched-up surrealist photo?].

Next night, Harmoni was "scheduled" to play bass with Jeremy Nail at Momo's -- good thing the healed-up Justin Wade Thompson was on hand to fill in. I had been out earlier that evening to catch a set from Slowtrain (with special guests Bryce Clifford and Juan Gutierrez and others too) helping to christen the "brand new club" Deja Vu (which of course is the not very old at all Club 115 at 115 San Jacinto). [This place BEGS to be a jazz club -- for which additional venues are MUCH needed here.]

I will save my review of Chris Brecht's new EP for another time -- and also a long-delayed review of Steve Ulrich's new record -- and brand new music from Bright Light Social Hour and The Bubbles (not to mention upcoming releases galore!). Instead, I will send a big HATS OFF to the Akins High Key Club for their well-attended benefit for Invisible Children at Mohawk.

Aaron from the El Guapos celebrates energy; members of Frank Smith (not the name of anyone in the band!); Jack and AJ from Bright Light Social Hour; a topside view of The Lemurs.

What a great day of music. INSIDE were the teen bands -- The Daze, the Bubbles (review to come of these psychedelic poprockers), The El Guapos and the Diving Captain (who will be among the bands duking it out to go to Ireland), Cranes of the Republic (who hope to get into the Blastbeat-Rock Camp Austin finals), and the Bright Light Social Hour (with a new EP!).

OUTSIDE (I love this venue!) it was the Lemurs, Stella Rose, Frank Smith, Golden Bear, the Politics, Built by Snow, and Frontier Brothers (I only got to see a few of these guys). Stella Rose is a three-piece hard rock band from Fort Worth notably with the very female McKenna Madget on bass; the Lemurs have two keyboard players (one also plays guitar) and are an up and coming indie rock band loved by Andy Langer; while Frank Smith features Austin native Aaron Sinclair who went off to Berklee a dozen years or so ago and got homesick and brought his band back with him (hi, mom! I've got company -- hope you have an extra fridge full of food?). I loved this band -- and got a laugh reading that Aaron once played DRUMS in the "noise punk" band Lot Six and a real buzz from hearing of the band's connection to Juliana Hatfield. The band is taking a month or so off (darn it!) -- which just gives me more prep time for their next gig.

Flanfire -- Bringing LIFE to Austin music.

2008-04-29T07:39:00.004-06:00

Kissinger Fluoxetine Pointer --
and Jets Under Fire (+ Brent!)

Spring is finally here, and music is rolling off the presses. So many recordings, so little time. And yet -- the good news is that much of what Austin's finest are putting forward is well worth at least a few listens.

Jets Under Fire at Eggs for Education!

[Let's face it -- you can only listen to about 8 to 12 hours of music a day, 60 to 80 hours a week, at the max! At least half of that has to be live, so the time left for recorded music dwindles to just a few records a day. Yet Austin alone has enough quality musicians to keep a guy busy year round and never get close to hearing everything he might enjoy! And that's fanatics like me!]

But I digress. Well, I don't. My pal Brent Allen put out a very good country record a few months back, "There's a Lot of Folks Like Me" (well, not that many with HIS voice!). He's got Dale Watson partnering with him on "Hair of the Dog," he's got a Freddy Powers song written just for this recording - "On the Road to My Heart"; he's got a Phillip Gibbs song, "The Whiskey Won't Help" (and Phil oughta know??); plus "Best Friend I Never Had" by Rick Cates and Brent's great producer Stephen Doster (that name alone suggests this music is worth listening to). Among the "slouches" (sic) playing Brent's (and the other) songs are Casper Rawls, Redd Voelkart, and Doster on guitars; David Carroll on bass; Dave Sanger on drums; Jason Roberts on fiddle, mandolin, and mandola; the great Marty Muse (yes, he played with Gram and Emmy Lou) on pedal steel; John Michael Whitby on piano; and Doster, Watson, and the beautiful Elizabeth McQueen on harmony vocals.

Now Brent has paid his dues with the Austin Songwriters' Group -- helped a lot of fellow musicians get venues and a fair hearing. Plus he's a great guy! Stephen Doster worked with Brent intimately throughout this year-long recording project -- and the love shines through. This is pure country -- not alt country or nuevo country -- which fully explains why Brent is a favorite out at Hill's Cafe (where he will be again this Thursday). I really like "Day Job," which reminds me of a conversation I had just last night with Jeremy Harrell -- about it interfering with his night job. There's the Ray Benson-esque ""If I Could Just Get Back (into the swing of things again)," one of two (plus the title track) co-written by Doster. The bottom line -- if you like Asleep at the Wheel, you just might like Brent's music, too. Of course I am going to be unfair and say my favorite song on the record is the Freddy Powers tune -- but Brent's own "Hopelessly in Love" (autobiographical sketch??) is pretty darn good too! But this is a record that belongs with a dance floor -- at places like the Broken Spoke and Midnight Rodeo.

Then there's "Schizophonic," from the Renaissance Man John Pointer. I've had this one for a while, too -- and if all you ever hear is "The Holy Trinity of Rhythm" (here in Parts 1 and 2), you will be glad you spent your time tracking this recording down. I am thinking what a great way to start kids off at school EVERY morning -- with about 15 minutes of Pointer beatboxing and all of them joining him in their own special ways -- with the promise that if they focus the rest of the day in school, they get to do it again before they go home. Grades would SOAR! But John is much more than beatbox (and his old Schrodinger's Cat daze) -- yes, he's a cellist, but he is also a budding lead guitarist (secrets to be unveiled soon maybe), a vocalist and actor who BECAME the Judas of Jesus Christ Superstar at the Zach Scott, and a man in demand on both coasts for BIG projects (most of which he opted out of for now). Did I forget entrepreneur and music marketer -- and great pal to have (and yes he does like to talk with not at people). Take "One by One," which is cut 2 here -- shows what a good singer and songwriter John is (with Johnny Goudie here). Players here include Pat Mastelotto, Stefano Intelisano, Will Landin, Mike Rosch, and Greg Seale -- with extra help from John Stinson on "Silver." There are messages in some of these songs that reflect John's own journey -- so travel along the way with him for a while, huh?

Then there's Kissinger -- Chopper and his bandmates go "Underwater" courtesy of the Austin Music Foundation and its Incubator Program. I caught up with the band upstairs at Emo's at a media screening ... and just as I had pronounced the new recording as "garage pop," I found numerous copies of "Garage" magazine at the venue. Hmmmmm. It is lots of fun to attend a Kissinger show -- not as clean-cut musically as, for example, Sheboygan but nowhere near as "dirty" as vintage Seattle grunge. And yet -- listen to the words: "Dig deep, rock and roll ain't cheap. It takes a lot of loaves of bread to feed this machine. I get so depressed tgrying to keep it real. I got so many bills to pay, so many bad ways to feel...."

Songs about women -- Henrietta, who's just "washed another worthless man away," putting on her headphones to drown out the emptiness, yet "soundly optimistic about her chances" in the next town; Catalina, to whom our muse has "held to every promise since I met you"; Catherine, the "dry cleaner's daughter in the bathroom drinking water" [at her own birthday party] "'cause the drugs she took were stronger than she thought"; Josephine, the siren for whom our hero is willing to be lashed to the mast and MAYBE the one with whom he swims "Underwater". Plus that "fishnet stalker" who's "the last one wading through the streetlight" when the party's over. But then our guy finds himself "fifteen thousand miles away from home" fighting in a war he hardly understands, the same guy who had observed that, "Wartime is a dangerous place for putting pennies in your pillows while the neighbors escape," even though he pledges to "sacrifice, dedicate my life to winning now." But winning in a war half a world away, or in the war inside his own mind -- fighting for sanity in a crazy world?

Or how about Fluoxetine? Wish they would play some gigs, because ANY excuse to hear Landis Armstrong and his amazing Stratocaster is a good excuse. And that's just ONE reason to love this band, which is built around the songs and vocals of Ryan Morris and has Dr. Ron Haas on drums and percussion and (on the record) Seth Gibbs on bass [but Amy Hawthorne in the photo on the jacket]. Music for the Prozac generation -- or at least to challenge couch potatoes to get up close and personal with real LIVE stuff -- with sweat and smells and raw energy instead of thumbnail blisters from video gameplaying. The theme of this recording is that "the media's preoccupation with fallen-angel teenyboppers assures that most people won;t know about the real issues of the day" -- so stay alert and present -- the life you save may be your own! Or, "will we always view those who seek meaning in life as egocentric lunatics?"

Did I mention Landis Armstrong on guitar? Yeah! Morris is a clever songwriter, yet one wonders if even he can provoke this medicated generation into real life. At least he's trying. "Two Weeks & Holidays" -- kinda the same message as from Joanna Barbera's song, "Beautiful Life." [Hurry back from California, Joanna!] Ryan has a running commentary on each of the songs on the CD (and a few more) on the band's website -- but bottom line, "Rainwater" (which chronicles conflicts), "Northwestern Squall Line" (great guitar solo), and "Best Western Religion" (yeah, the motel chain -- but it's all about other people's puppet strings on your life, reminding me of Aimee Bobruk's "Puppets at Play") -- are great listening (and pondering). But my favorite has to be "Reclaim Your Voices," which suggests it's time to quit letting politicians steal us blind while ignoring the weightier matters facing society. Be on alert for live shows!

Finally, I get to one of the coolest CD covers in a while -- the castles that identify the theme of Jets Under Fire's "Kingdoms." Yeah, these guys are confrontational but on another plane from that of Fluoxetine -- "Kingdoms rise, kingdoms fall," after all. Jason Poe came down from Springfield, Missouri, a couple of years ago with his band, "The Professional Americans" (Jets meanwhile had begun as a solo project that turned into much more after the PA's broke up). This is good music -- and by the way the band plays May 9th at Stubbs on a bill with Sounds Under Radio and Ars Supernova. [And, yes, I am not quite sure who is still in the band.]

Poe says of himself that the past two years have been the hardest in his young life -- and that these songs reflect the joys and struggles of life that led him to conclude that, "we're a broken people, and we feel it. There is no quick fix, just this hammering process called life." Song 1 is "Broken Parts," in which Poe asks, "If love is the key, tell me why don't we set the whole world free?" Song 2, "Where Do We Go from Here?," asks "where do we go when we're broken? Where do we go to feel awake?" "All the Sad Songs" reminds me of Seth Woods and the Sad Accordians -- "Why do we sit on these bad solutions? Why do we think we are wise?" After all it is the sad songs that remind us of the good times, and the good times make us sad through the hard times. "Just Like the Cold" is so singable, an anthemic song to sway arm in arm along to -- maybe this is why Jets sometimes gets misidentified as Brit pop! [but more like Craig Marshall].

"My body is tired, my mind is not the same, been broken (there's that word again!) for days." That's the opening lines of "The Writing on the Wall," a song about fading out and fear of failure. I could write more about the other songs, but just get to a show and see for yourself.

Meanwhile, I have to put in a word for Blastbeat and the upcoming Regional Blastbeat Finals, to be held on May 31st (afternoon) at Emo's Lounge. Blastbeat is an Irish import -- the idea is to work through schools, afterschool clubs, or whatever to teach high schoolers how to form their own music management company and put on concerts -- and to give back to the needy. Here in Austin this year four schools have had Blastbeat companies -- Akins High (winning band was The El Guapos), Austin CAN Academy (winning band was "Next"), LBJ High's LASA, the arts and sciences academy (winning band was The Diving Captain), and Anderson High (and THEIR battle of the bands will be on May 10th -- details to come). Meanwhile, another gaggle of teen bands will perform on May 3rd at The Mohawk on behalf of Uganda's "Invisible Children," and on May 5th yet another group of bands will be blaring away at Stubbs (Cinco de Mayo in the afternoon) as part of St. Andrew's High's spring fling (everyone welcome, I think).

Lots more great music on the horizon -- but enough for now.

Flanfire -- Bringing LIFE to Austin music.

2008-04-24T23:03:00.008-06:00

Ugointa Uganda, Anyone? Sydney Is!

Artist, photographer, graphic designer -- and now teacher? Sydney Berry gathered friends to purchase "Eggs for Education" in support of the work she will be assisting in Kampala, Uganda, starting in May. Gina Chavez and the band Jets Under Fire (really nice sound) showed up to eat, play music, and be merry -- and ogle Sydney's wonderful art. The Jets have a brand-new CD, "Kingdoms," of which I will say more soon.

These past two weeks have flown by, yet they were marked by two great celebrations -- the first anniversary of the grand opening of Ming's, MY favorite Chinese food since owner Fai Jow [pictured here with Momo's co-owner Paul Oveisi] opened his FIRST Ming's in the Montrose area in Houston a decade ago. Then the annual reunion of Sis Deville -- Austin's premiere all-woman, all sassy rock and roll band.

One-time Houstonian Eldridge Goins has also long been a fan of Jow's cooking (and his ebullient personality), and shortly after the new place (the old Little City coffeehouse on Guadalupe) opened, he began gathering together Laura Scarborough and Brad Houser (most of the time) and a few other friends to play standards as the Mingtones on Monday nights. In the house for the big party were bandmates Johnny Vogelsang and Suzanna Choffel (the main Mingtones are also in Suzanna's great band), Kevin Lovejoy and Kat Edmonson (frolicking with Laura), fellow old-school Houstonians Darren Fisher and Carolyn Wonderland, and a host of others -- and of course the soon-to-be 97-year-old Eluida Flanfire. Later that week we trekked down to the Elephant Room and caught Kat and Kevin's REAL set (with J. J. Johnson on drums, John Fremgen on bass, and Ephraim Owens on trumpet) -- WOW!

Then there was this Tuesday, when I ran up the stairs at Momo's to catch Sis Deville -- Texas musician of the year Shelley King, the aforesaid redhead (Miss Wonderland), the belle in black Ann Marie Harrop (who spends most of her time these days on the road with Brave Combo and who did one of her Polish songs that Carolyn spent all day learning on he guitar), mother of two and new Dallas celebrity Floramay Holliday, and the world-traveling Lisa Pankratz on drums. Signature SIS -- enough to make Sunny Sweeney think about (but not dare to) hop onstage. [That's major music lover Kathy Kelly on the dance floor!]

The saga would hardly be complete without mention of the lovely Raina Rose, shown here as she shared the Opal Divine's stage with Vanessa Lively and Gina Chavez. But that's nowhere NEAR all the great music [no, I did not get out to Old Settlers, but I do want to congratulate The Fireants for being chosen as the best young band at the annual event]. Well, of COURSE you will find fireants at an outdoor party in Texas. I caught Aimee Bobruk at Botticelli's (and enjoyed their amazing Botticelli Bread); the Hudsons WITH Leah Zeger at Waterloo; and one of the most amazing shows I have seen in quite a while, Dustin Welch with Kevin Welch and sister Savannah at the Continental Club. After playing a bunch of his own songs, Dustin brought up his new Texan dad, who smoked the house with "Beneath My Wheels" and kept on going through "Millionaire" (written for Solomon Burke) and "Cold Train." It was a joy to behold!

Other great fun of late included Blues Mafia at Antone's for the Austin Blues Society -- Sasha has never sounded so strong, and the crowd warmed up to the band quickly. Then it was Goldcure under the night lights at the Belmont (yummy burgers, too!). I also got out to the Blastbeat Battle of the Bands at Akins High School but missed the set by winning band The El Guapos.

Made up for that, though, by catching part of their set at the Red Eyed Fly the same evening I was invited to Emo's Lounge for a private hearing of the brand-new Kissinger CD, "Underwater" (and a long-awaited introduction to the artful Chopper). I promise reviews of Kissinger, Jets Under Fire, the amazing John Pointer CD, Schizophonic," and maybe even my nephew's band, "The Spaghetti Western String Company" (and likely a bunch more).

For the record, the El Guapos and three other battle of the bands winners (in shows produced by Blastbeat companies at Austin CAN Academy, LASA, and Anderson High) will be duking it out for a trip to the national competition later this summer at Emo's Lounge on the afternoon of May 31st. This event is cosponsored by Rock Camp USA and the Austin School of Music.

Flanfire -- Bringing LIFE to Austin music.

2008-04-10T22:02:00.012-06:00

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.

2008-04-01T01:03:00.018-06:00

The March Merry-Go-Round of Austin Music!
Evan Butts of The Daze; Mary Cutrufello and Flanfire's MOM!

March after SXSW week is a big blur -- but I did take a few photos and so have SOME memories to share of this windiest of months.

In no chronological order, let me see what I can do here. May as well start off with the budding MOVIE STAR -- Evan Butts and The Daze opened for The Steps at Threadgill's on one starry night. These young rockers (who can also play some salsa) are featured in the movie "Will," shot here in Austin and due out next spring. But, WOW, look at the wonderful Mary Cutrufello stepping down from the stage at Patsy's Cowgirl Cafe to visit with Flanfire's own mom (who will celebrate her 97th birthday in May in Dulac, Louisiana, where she is being honored for missions work with the Houma Indians some seventy-five years ago.

Suzanna Choffel; Mario Matteoli and Cayce Marsh are in AWE of drugstore cowboy Paul Minor -- all at Lambert's.

I also remember stopping by Lambert's two or three nights -- once to catch an amazing set from Dustin Welch with his "string quartet" of Brian Standefer on cello, Tricia Keefer on violin, and Joe Beckham on string bass. That same evening, though, Suzanna Choffel and in particular the amazing Laura Scarborough (aided by Eldridge Goins and Johnny V) flat out smoked all of the salmon, barbecued the beef and pork, and fried all of the potatoes in the downstairs kitchen -- the same way she has been smokin' the competition in Famecast.

Gina Chavez and Tricia Keefer at La Palapa; Al Sato joins Byrd and Street at Quality Seafood.

And speaking of food, I just had to mention that I stopped by Quality Seafood on Airport to catch the first of what will be for now a weekly Wednesday show by Tommy Byrd and new grandma Kathy Street. That same evening I went over to La Palapa, where Gina Chavez and her full band were warming up for her upcoming trip to Washington, DC. Tommy is an accomplished artist as well as a topnotch songwriter -- and what better excuse could one have for eating 25 cent peel and eat shrimp than to hear this duo entertain?

Burton Lee and Sarah Stollack (with the Lonesome Heroes); Clyde and Clem (or is it Clem and Clyde?) and those nasty Shake Em Ups at the Hole in the Wall!

What's a month of music without a little levity? Clyde Clow and Clem Clowan and Whiskey Business sing songs of cocaine and (of course) whiskey, backed by the fabulous Skewrl on bass, Ole Red on banjo, Boxcar Stanley on washboard, and Smokin' Guns on harmonica (they all sing some) -- great songs like "Whiskey Jesus" and "Cocaine Habit Blues." The boys also announced a coloring contest -- winner to be announced at the end of April. On another evening I caught a little of Leo Rondeau (memorably, he brought Brennen Leigh up for one glorious song -- almost as good as his own stuff) and then the Shake 'Em Ups -- no hi-jinks there! Somewhere I recall that the beautiful Landry McMeans had broken (??) her wrist and brought in the peripatetic Burton Lee to play on pedal steel the parts she normally plays on dobro. Good thing she did not break her singing voice!

And speaking of pickin' and sangin', the South Austin Jug Band has a new CD out (to be reviewed here soon!) with some wonderful songs (and great picking) from James Hyland [photo], Brian Beken, and Dennnis Ludiker as joined by Matt Medford and Joe Kidd (and the handsome Joe Beckham on the Board!). One recent night at Momo's they played songs from "Strange Invitation" that really touched the heart -- this could be the best work they have ever done (with no disparaging the four charter members no longer on stage). The boys could be in for bigger and better (or so it is said) things with this record -- they play again on Friday night at Threadgill's downtown, and that ought to be a night to remember. Otherwise, you will just have to drive a ways or wait till May 1 at Shady Grove.

Also at Momo's one night, Raina Rose brought her pals Vanessa Lively (new CD review coming) and Danny Schmidt (ditto!) on stage for songwriters in the round. I opted to throw in a photo of Carrie Elkin and Melissa Greener, who were in the house to listen (and Carrie to sing with her man Danny just a little).

Lost in the ozone of the month was a show by Izzy Cox at Ego's (yet ANOTHER CD review on the way) and I heard that Justin Thompson had a scooter accident. And Joanna Barbera is still beautiful -- but her smile is even bigger now that Danny Anderson is playing guitar with her band.

Flanfire -- Bringing LIFE to Austin music.

2008-03-18T21:26:00.003-06:00

Steve Ulrich Back in Austin!

Longtime Austinite Steve Ulrich (aka Steve Convenience, Zeus Muldoon, Steve Duckfoot) moved a few years ago first to Guatemala (where he met his lovely wife Elizabeth) and then to Portland, Oregon (her hometown), where he has found numerous venues and written many new songs. Steve will be making a rare appearance in Austin at Cafe Caffeine on March 28th, with Beth Richard starting off the evening with some of her new piano-friendly songs. Steve will be showcasing tunes from his brand-new CD, "Break on Through" (and yes, he DOES cover the infamous Doors song).

Once again, Steve has teamed with famed bassist and producer Brian Beattie (Glass Eye, Okkervil River, etc.), this time to make what Steve calls "nouveau skiffle" music -- live takes with two tracks on analog tape. Eight of the tunes are his own, including "Dishdraining Blues" and "Someone Like You," with "George and Martha" and "Banks of Jordan" from Mark Ambrose, "Blue of the Evening" from Paul Sanchez, and "Fall Down" by Matt Meighan. Longtime pal Emerson Roberts is on drums here, all the way from Montana, with Richard Parke and Jason Richard sharing guitar duties. Jonathan Meiburg played banjo on "Break on Through," and Scott Marcus added a few drum tracks.

I first heard Steve on a regular basis back at the OLD Hole in the Wall in 2001-02 -- he was my daughter Susan's favorite singer. Hilarity with a social conscience marked songs like "Westernman," "Salamanderman" and "Swedes of Minnesota." Plus, of course, Steve was always talking about subatomic particles for peace -- and loving people around him. Steve is also using his concerts these days to raise support for street kids in Guatemala.

Craig Marshall: The King of Austin Pop!

I was so excited to learn that Craig Marshall had completed work on his self-produced CD, "Point of View" -- with Jon Notarthomas on lead guitar and vocals, John Thomasson on basses -- with drums and percussion by Jason McKenzie and Jeff Botta (alternating tracks), keyboard help from Derek Morris and Sam Lipman, some steel guitar from Charlie Richards, and harmony vocals on one track by Jo Beth Henderson. Craig, of course, is also the lead singer in the jazz swing cover band The Lucky Strikes (he is also a fine guitarist!) -- but since hearing his pop songs years ago at the now-defunct Woody's South, I have admired his pop songwriting.

This THIRD solo CD (after "Popular Crimes" and "Before the Fadeaway") includes some of my all-time favorites, led by "Lost in Space" and"Radio Girl," but all of the songs are singable, catchy tunes that bring back that feeling that anything is possible for those with a song in their hearts. "Why IS everything so difficult?" for people to recognize that this guy is writing songs as good as Lennon and McCartney? "I Know What It's Like" just marches along until the very end, when Craig slows it down (catch the harmonies!) before the final explosion that makes you want to mimic the Butabi brothers and their headshake.

"When the Camera's On You" slows it down (Ricky Stein should steal this song) so you can focus on the lyrics -- "hiding in the negative, quickly gets repetitive, something's gonna have to give, I know, you know .. the camera's on you ..." And, really, it always is. "When You Come Back Down" just has to be sung by the whole HOUSE FULL of people, "Will you remember me, when you come back down?" This is a true HIT SONG! If you liked, "That Thing You Do," you gotta have this record!

"Paper Cut" is a true ballad -- sounds like the 1950's and feels like dancing at the prom. Live, you cry out for a real piano solo -- why wasn't this song in any of those Sixteen Candles movies? [the whole genre?] You get to kiss the girl at the end of this one -- to heal the hurt -- "now that we've had some time, now that we seem to know, now you can let your mind get some rest." Just wonderful!

But next up is "Lost in Space," complete with sound effects -- and that great signature riff! "It's right between the reds and greens in life that you're floating through." Another song you just have to sing along with -- and light a candle! This is date music! Especially for the long-wed! Okay -- "Radio Girl" is just as special -- another jukebox necessity! This is another one that the whole crowd just stands up close to the stage and bounces up and down to the music -- and shouts out the lyrics back to the band.

Then there's the title cut -- great harmonies -- almost Beach Boys half an octave lower but with a little Beatles psychedelia mixed in -- and yet, some of the lyric structure hearkens back even earlier to 1950's style harmonies (can you say Four Freshmen?). But squeeze your sweetie stuff to be sure. Thankfully, "One Face in the Crowd" just flat out rocks -- vintage style. [How often do I start thinking "Revolver"?] Last (but there IS no least here) we get a "Small Reminder," one of those songs you just stop dancing to and just squeeze her tight. Reminds me of the Hollies (did I leave anybody out in my quest to get across the fact that this is great great pop music?)

Once more -- this is absolutely the perfect record to put on when you and the one you love are stuck at home on a rainy day. And be sure to thank Craig for the great memories .... BUY THIS!

But Wait! There's More!

The amazing Molly Venter, a New Englander who has spent time in Idaho (as did her singer-songwriter brother Josiah), just returned to Austin (and Body Choir!) from a long stay in Mexico with a brand-new record almost here (but with a five-song preview that made me fall in love with her music). "Shaky Ground" opens up, but then there is the title cut, "Love Me Like You Mean It." Sorry -- no Molly dates to report, but keep an eye out. Her songs cut like a knife.

Cranes of the Republic -- which bills itself as a band comprised of a high-pitched-singing choir boy, an apathetic giant, a lanky jew who runs charities, and an A.D.D. drummer. How can you not like "I Found Happiness on the Radio"? I also liked "Two Pair," which is posted on their myspace page. This band is just getting started -- and getting noticed. Meanwhile, An Even 3 (AE3) and TheHeroCycle (the twin bands of Althea Capra and Griffin Yu - electric and acoustic, respectively) also handed out demo EP's during SXSW week. Look for giant leaps forward for these and other young Austin bands (for example, The Fireants) in the coming months.

Okay -- I have CD's from Austin Collins (sure, he's from Dallas, but he does record for Austin's own Fat Caddy Records) and the one and only Izzy Cox ["Love Letters from the Electric Chair"]. And more to come. And, yes, I forgot to mention an entire day's worth of great music I heard last week. Or for that matter, last night's trip to the Hole in the Wall to see the Shake Em Ups! But as always there is so much more to see than time to see it, and so much that just gets trimmed at the cutting table of time.

Flanfire -- Bringing LIFE to Austin music.

2008-03-17T10:53:00.015-06:00

Blastbeat: A Gift from Ireland!

About a decade ago, Irish music promoter Robert Stephenson had had enough of the grimy London music scene -- so he cleaned up his own act and began working with youngsters just starting out as live performers. Did pretty well, too -- but there was still this nagging feeling that he could do more. He had an idea for starting a nonprofit to teach kids the music business from the ground up -- but sat on it for years .... until he got this e-mail from a young singer-songwriter.

Rory Griffin had just finished his own program in music management with a heavy focus on youth. Stephenson immediately recognized his prayers for a partner had been answered ... and the rest is history in the making. Starting in Ireland, but already in South Africa, Belgium, and several U.S. cities (now including Austin), Blastbeat (which is seeking nonprofit status here and elsewhere, while Blastspace is a for-profit arm) works with high schoolers who create and manage Music & Multimedia Companies who earn money organizing concerts using the talents of photographers, videographers, journalists, sales and marketing managers, talent scouts, and of course a CEO.

Irish bands Steer Clear and HotStop.

The MMC's compete for prizes, as do the bands they recruit for their concert events (battles of the bands). Winners in both categories have a chance to fly to Ireland for the world finals -- and recording contract offers. Judging is done by industry professionals (chosen at the local level by the MMC's, but at higher levels by Blastbeat personnel). The kids earn money while learning entrepreneurship skills and trying out professions they may enter as adults and also participate in helping others by donating 25 percent to charitable activities such as MyLife in South Africa and 2WinAid in Sri Lanka. Blastbeat has had corporate sponsorship in Ireland from Coca-Cola and similar support in other nations as well. Sister site Blastspace.com is where the bands can post their profiles and music, the MMC's can promote their shows, and fans can log on and listen -- and comment.
Stephenson brought two Irish bands to Austin for a showcase on Saturday at Freddie's on South First Street. Belfast's Steer Clear was a world finalist two years ago -- now they are playing gigs all over Ireland and the United Kingdom; Hotstop, from Wicklow, Ireland, won this year's world competition. Stephenson also invited several teen bands from Austin to share the stage as part of the marketing effort -- Blues Mafia, The Daze (just done with their work in "Will"), Cranes of the Republic, and Super Pal Universe (a band put together by Sara Hickman as part of a broader vision).

Bands gathered at Freddie's; Patrick and Sasha (Blues Mafia) with Evan Butts (The Daze); Blastbeat's Ryan Sweeney with The Daze.

Earlier on Saturday, I stopped by to catch a set from the wonderful Tommy Womack (with my pal Brett Staggs of Slowtrain on drums), the Nashville-based writer of intelligent, quirky songs about life as a singer-songwriter father and husband trying to sort out meaning after the dream has died (rock stardom, that is). Jovita's inside and outside was a big sardine can all day.

Later, I went back to Cafe Caffeine to show my friend Robert even MORE teenaged music makers from the Live Music Capital -- Althea Capra and Griffin Yu (as TheHeroCycle and with Kelvin Stewart and Jackson as An Even 3), a band called Girl in the Closet, and the amazing Mother Falcon, featuring three cellists and the songs of Nick Gregg (second from right). All in all, a very satisfying SXSW week -- including a special Deja Vu Friday afternoon at Bull McCabe's Irish Pub with Slowtrain, Bryce Clifford, Ricky Stein, and the duo of B. Sterling Archer and Nicolette Manglos. Special turned to phenomenal on the duo's last number, as they were joined by their bandmates on a brand-new song -- and by the legendary Beatle Bob!

Flanfire -- Bringing LIFE to Austin music.

2008-03-13T18:36:00.015-06:00

The Only Tragedy: Nathan's Still a Sideshow!

Nathan Singleton; Justin Wade Thompson and Jeremy Harrell (the Sideshow Tragedy); Sam and Ruby (from Nashville); Dustin and Savannah Welch.

It's not every week you get to see the same band blow your head off twice! And you can hardly wait until round 3. I stayed out till 2 am on Monday to finally catch a set from Nathan Singleton and His Sideshow Tragedy, then got a second shot of White Lightning Wednesday night at Ego's -- who needs a massage?

This band is pure Texas. Nathan hails from Tyler, admits to ripping his resonator collector dad off for the two jewels (a National 1933 and a National 1938), and oh yeah has a brother named Hunter Thompson Singleton. Maybe a sign that he should team up with Justin Wade Thompson and his Rickenbacker bass, his acrobatic energy, and his poetic passion -- and with Jeremy Harrell on drums (whom Nathan met up with at Texas A & M Commerce and played with in the band Myna) flailing away with punch after punch to set the pace.

I am not even going to try to explain this band to you (just read the stuff on their myspace page) -- because this is all about energy and emotion -- and, yes, the juxtaposition of the rhythms of Robert Johnson and Chris Whitley (for starters) against the artistry of Ingmar Bergman and Arthur Rimbaud (for example) filtered through this Texas trio makes for toe-tapping, brain-rattling music that challenges body and soul alike. Whether it is a re-telling of the story of Stagger Lee or an innocent "Fishing Song," or even one of the rarer ballads, you just keep wanting more of this band -- their energy, showmanship, and sheer talent.

Another way of saying it -- Nathan Singleton is the male counterpart of fellow East Texan Michelle Shocked. The new CD, "Borrowed Guitars, Unwound Hearts, and Broken Strings" will be out soon. So why are these guys [or Jeremy Nail, who also played Momo's on Monday, or Dustin Welch - see below] not playing major festivals?

Probably because the Lords of SXSW, Austin City Limits, and (yes) Famecast (etc.) are too busy fawning over manufactured celebrities. Take, for example, the outstanding live show from Stubbs by REM (broadcast live on KUT and many NPR stations worldwide) -- four other bands (one with Rain Phoenix), none of which is from the "live music capital of the world." If SXSW is supposed to be an Austin music showcase, what up? Despite the ravings of the press, the Papercranes were nowhere near as good (at least on radio) as half the Austin bands I saw last week. I'd like to do an "Austin Unlimited" show featuring Austin bands and solo performers juxtaposed against counterparts from other American cities -- genre by genre. Meanwhile, our own musicians -- the guys and gals who make the scene that is the backdrop for SXSW and ACL -- are far more popular in Europe and even Japan than on local radio.

But I digress. Momo's on Sunday had me hanging out to watch the Belleville Outfit (who did get to play ONE song at the Austin Music Awards show on Wednesday). Back to Momo's on Monday for CandiLand, then Dan Dyer's friends from Nashville Sam and Ruby (who was also Dustin Welch's high school classmate), who made me think differently about Nashville music thanks to their wonderful acoustic set (backed by cello and violin). I even went on myspace and checked out the Spiritual Family Band (also from Music City), more folks Dustin knows who are making beautiful music up there.

And then the fun began -- Dustin brought out his full band PLUS cellist Brian Standefer and literally blew the doors off Momo's (okay, they opened up and we all froze but loved it!). And what a band - Tricia Keefer on fiddle, Kyle Ellison on guitar (and yes this was his brother Sims' birthday), Drew Smith on acoustic guitar and vocals, Joe Humel on drums, and Joe Beckham on bass -- plus sister Savannah on vocals and Dustin on banjo, Gibson, and resonator. The "Whiskey Priest" quickly sold out of the five-song EP he had made just for SXSW week (more were on the way) after bringing the "Poor House" down. From "Empty Parking Lots" to "Idaho Moon," the brother-sister harmonies (plus Drew) just added to the zeitgeist. Dustin even threw in a Swindlers' song (that's his old Nashville band with Justin Earle, who would be in town later in the week) and an Irish murder ballad for good measure. The full CD will be out in May.

This musical journey report, though, goes back even further, to a cold Friday night at Austin Java with a very warm set from the wonderful Jean Synodinos (and later an even colder set by Blues Mafia at Junior's Ice House in Round Rock -- which on a warmer night would be a super venue, thanks to the food and the fine outdoor stage). On Saturday, it was more comfort food at Waterloo Ice House with music by Ruby Jane backed by Jim Stringer, David Carroll and an awestruck (see photo) Kim Deschamps.

Then it was back to Blues Mafia Sunday evening at Jovita's -- but not the usual lineup. Movie stars Kai Roach and Chris Copeland were late to the gig -- which opened with a blazing set from James Bullard with movie star Gary Clark, Jr., on drums. Drummer James Wiseman stepped in for Copeland, and Roach's slot was filled by a music teacher from Anderson High [see photo], and movie star Evan Butts sat in on harmonica for a song or two, to the delight of Mafiosa Sasha Zoe and Max Frost (not shown).

Now on Thursday afternoon, I was privileged to assist Lifeworks and Cafe Caffeine by recommending a few of my friends to share their outdoor stage. Opening up was Austin newcomer (just in from Seattle and holding her Billboard jazz song of the year trophy in her hand) Alyse Black -- a redheaded piano player with a goofy song or two in her cupboard and a smile as big as (well) her generous heart. Next up was Nicolette Manglos, backed by multi-talented (standup bass, lap steel, electric guitar, and trumpet) B. Sterling Archer. Nicolette is finding time to promote her newly released CD while working on her Ph. D.

Even newer to Austin (by a week) was the third performer, Carrie Engdahl, who will surely win audiences over with her infectious smile and songs "about boys" and other topics, too. This New Jerseyan reminded me a little of fellow New Jersey native Mary Chapin Carpenter (who after all wrote "Passionate Kisses" made famous by our own Lucinda Williams). Both Alyse and Carrie have been writing songs like crazy since getting to Austin (and both are posting these new songs You Tube style on their myspace pages). Carrie on Thursday performed "Red Light Kisses," which maybe she wrote while waiting eternally at one of Austin's infamous intersections. You can find Alyse singing "Who Am I" (in her own words) like a 14-year-old on her myspace. And did I mention that Nicolette is also a gifted pianist (as is Alyse)? Later, Stefanie Fix and Jenifer Jackson (with Billy Doughty helping) blessed the (too sparse) crowd with their wonderful songs.

Closing out a long afternoon, my mom and I (yes, she had enjoyed five hours of great songwriter music!) trekked over to Ming's for some great spinach stir-fry and equally great music hosted by impresario Matt Hubbard. Had to leave before Suzanna Choffel's set, but did get to hear my good buddy Kevin Carroll (backed by Mike Meadows on percussion) and also the wonderful songwriter Lee Duffy (backed by Will Sexton) -- how sweet that was!

Flanfire -- Bringing LIFE to Austin music.

2008-02-29T23:51:00.002-06:00

Cactus Flowers!

Jenny Reynolds is a friend of mine -- she even got me a Red Sox cap on one of her trips back home to Boston. She is also a woman of quality -- and her music shows it. Jenny just released her brand-new CD "Next to You" with a show at the Cactus Cafe -- backed by a hot band whose members included her co-producers Scrappy Jud Newcomb and Mark Addison (on guitar and keyboards, respectively), bassist Lindsay Greene, and percussionists/drummers (they switched off all night long) Luke Ayres and Rob Hooper.

Sadly, I had to miss the second CD release at the Cactus that same evening, but I did stick around long enough to meet the wonderful Carrie Elkin and say hello to Dustin Welch and Colin Brooks who were part of HER band for the evening (along with the aforementioned Mark Addison, who racked up producer credits along with Brooks and Amy Burchette on this one). And then I listened to the music -- and wondered where had I been all these months? But of course Carrie tours all over America and is here just once in a while (cheesy excuse!).

Jenny Reynolds: Next to You

But to the music, Jenny first! Now everyone in her Cactus band played on the record, but so did Warren Hood and Ian McLagan and Glenn Fukanaga, and Ruthie Foster added vocals. So Jenny has to be very happy -- and yet anyone who knows her songs realizes the pathos she finds as she views the world through not so rose-colored glasses. The sultry tones that open the title cut warn us to be ready for some tough words. Here Jenny sings of being "not the marrying kind," and yet there is an alternative: "I feel like I do, I wanna be next to you."

Next up, our singer explains that there "Ain't No Reason" not to love me, while "Belong to Heaven" asks what are we to make of those who falter in life. "If we all belong to heaven, which of us is then to blame" when things do not work out according to the fairy tale? Not her job, Jenny acknowledges -- hers is just to sing the song. This is strong music, enhanced by great players who have embraced Jenny (who is always just thrilled to have a band).

"I Forget Myself" features Scrappy on acoustic guitar -- as he interprets the lyrics, "Wish I was someone else, I forget myself trying to remember you." Jenny next interprets Scrappy's own mystical "Night of the Arrival," which is followed by "Exhale," with Scrappy on 12-string guitar. This song is perhaps the highlight of the whole record -- but how sad that her first heroine "never felt the glory of the sound of the wind blowing through the leaves ... All that breathing in, don't you want to let it out somehow?" The good news of course is that Jenny herself has come through dark nights and learned to "let it out" -- and to live and love again. Great piano, Mark.

Things lighten up a little as Jenny sings of a "One Red Light Town," getting out of the city (Yea!). Warren's fiddle here helps make us all want to get back to that simpler life. [And yet it is clearly not Jenny's own town.] "Never Let Him Go" is a sad tale about the guy who left the girl (and her baby) behind after he "stole her love in a brand new Ford" -- again, Warren Hood conveys the sadness inherent in the fact that "he's gone but she'll never let him go" (even though he still thinks of her -- both of them are stuck 15 years back in time).

The live version of the Lennon-McCartney "I'm Looking Through You" is even better than the one on the record -- jazzy as all get-out, slowed down and darker -- a whole new take on this classic. Peanut plays piano here, but the guitar is all Jenny. Finally, in "A Simple Man," Jenny asks "would you take him down just because you can?" Another small-town vignette -- more evidence that this big-city woman yearns for a gentler time, a world that makes more sense. And that's what we like about this beautiful spirit -- the amazing gentleness that betrays the sometimes angry exterior. Which is why the final number, "Whiskey & Pie," makes so much sense -- it's a real HOOT kind of ditty that you gotta dance to. Rural party music. Just so we will know that the morose reflections earlier are not the sumtotal of this awesome woman (who reminds me ever so much of my long-departed daughter Susan).

Carrie Elkin: The Jeopardy of Circumstance

How many artists are able even to write a review of their own music? Carrie Elkin while in England earlier this year did just that -- gave us the lowdown on every song on this wonderful recording that benefits greatly from the beautiful work of Colin Brooks and Mark Addison.

"Why would I want to go to heaven, the people here don't think much of me now." That's the opening lines from "Obadiah," which Carrie says is about the struggle with spirituality and how it takes its toll in every aspect of life. This is a very quiet song -- you have to hush your own soul in order to really listen. Which is a good idea anyway. "Roots & Wings" comes from the Ohio soil where Carrie grew up -- Iris Dement would love to sing this one. Carrie has her roots, and also her wings -- she's a traveling musician, after all. But centered and not scattered.

"Did She Do Her Best" Carrie admits is about leaving someone much loved -- this could be a John Prine song (or maybe Tom Waits). One of my favorites is her "Ode to Ogallala," the Nebraska town where she got stuck two weeks after her VW engine blew up [I had a similar experience in Mountain View, Arkansas, many years ago!]. Carrie admits she spent the time working on a cattle ranch and flirting with the cowboys (well, one, anyway).

Another is "Questions about Angels," which Carrie notes asks why people even bother to pretend to seek God when their lives are so full of greed and envy. Do they even hear the words or have any idea of who it is they are mocking? "He sang on Sunday, sacrificed his words to get to you, But sacrifice ain't no good till you give God His due." [This could be a Raina Rose song, it is so gentle -- kinda like the kid who pointed out the emperor had no clothes on.]

"Year Before the War" Carrie says is about her grandpa (still alive and kicking at age 97, a photographer who has lost his eyesight). Much of the song is fiction (of course), but the story makes me think about my own mother who at age 96 is frustrated that she cannot manage all her own affairs any more -- and yet thrilled when her long life of accomplishment is remembered (for example by three of her former students who took her out to lunch this week).

"Shell of a Man" opens with a gospel style a capella chorus, then features Dustin Welch's banjo. Brennen Leigh could sing this tall tale about a man who thought he was gonna die -- but wasn't. "Broke TV" (ah, what a joy!) Carrie says is her "pop song" -- happy on the outside (the music), but "depressing as hell" down deep (in the lyrics). Great melodica solo by Mark Addison (who had a couple of those at the Jenny Reynolds party as well). More harmony vocals! You just might tap your toes to this one.

"Black Lung," though, is by no means toe-tapping -- a true story about Carrie's coal miner grandpa (not the photographer) who died when she was nine years old. Okay, the rest of the song is all fiction -- except for the sadness of losing a loved one way too early. Patty Griffin might want to cover this one. So hauntingly beautiful -- beyond poignant. The record closes with Carrie's "Gospel Song," featuring Dustin's banjo and lots more music. Carrie's own gospel is about the search for "what's real in this life ... in all the noise and lights" -- and about walking together in harmony and joy.

Just ten songs -- music you want everybody to sing. Which is why the HINTS for other artists. Carrie looks like pure fun just from the clothes she is "modeling" on her myspace page. The kind of person you might eat peas and cornbread with, maybe some corn on the cob and in the bottle. Go square dancing with (or just dancing at the Spoke!). Lie on the grass and look up at the clouds with -- or watch the stars when the sun goes down. A woman connected to earth and sky.

Flanfire -- Bringing LIFE to Austin music.

2008-02-28T19:30:00.014-06:00

Circle in a Straight Line:

Songwriters Night at Antone's!

I went out to Antone's on Wednesday night to support my good friend Stefanie Fix and also to learn more about Aaron Cuadra, who moved to Austin 16 months ago not long after being voted Los Angeles' top male singer and who has re-created here in Austin his Circle of Songs format that had served him so well in darkest California.

I had just gotten the sad news that the Aimee Bobruk-Hilary York Tuesday showcase at the Scoot Inn would be no more, and yet excited to see the quality of the songwriting on display and

to be at Antone's, with its great stage and sound.

Cuadra first brought up the wonderful Candy Sanders and later sang with his close friend Jennifer Appelquist (his fellow LA expatriate with whom I fell in love at first listen -- and that was just her harmony vocals). With his first song, "Autopilot" (from his 2005 "Details on Lost Napkins"), I knew we were in for quite an evening -- "sleep till you run away ... takes you to die to realize you were in heaven; cradled in your pain, escape to the promise that you made."

Next up was Lang Freeman, lead singer of the band "Sounds under Radio," who opened with his song, "Portrait of a Summer Thief," which you likely heard on the soundtrack of "Spiderman 3." This dark knight also offered up "The Arsonist," "Science" -- "someday you will see everything in me is dead" -- and the amazing "Wasteland," which challenges his friend to "wake up" and live. What a voice this guy has -- and anthemic songs.

Gotta catch his full band sometime soon!

Stefanie Fix; Candy Sanders and Aaron Cuadra;

Adam McInnis with Cole Hanson.

Stefanie then showed the purity of her soul and her voice with "Don't Go, Don't Stay," from her 2007 CD produced by Stephen Doster (of whom I will write more later) and followed later with "Both Sides of the Divide," "Must've Been the Devil" (on which she showcased her slide guitar licks), the brand-new "Bouquet and a Fistful of Doubt" (a personal favorite of mine, on which Cole Hanson figured out a nice lead break), and finally "No Reason Now."

Last up in the first three rounds was Adam McInnis -- and he did not disappoint! First off, he had Candy Sanders on harmonies along with guitarists Jason Miller and Cole Hanson (electric) -- all from his wonderful band. More importantly, he opened with the powerful "Rain," in which he asks "not to be forgotten, only to forgive" and begs God to "let the pain evaporate." His second song was "Passerbys," a poignant song of hope for a love that will stand the test of time. But this IS Adam -- so he had to sing "I Love Titties" and "Sex for Breakfast," as well as "Not Alone."

Aaron's second song, "Lucid," proved beyong the shadow of a doubt that this guy is a true heavyweight (indeed, this entire evening was a heavyweight showcase) -- "comfortable in my grief, unable to change, everything I was I've thrown away." By "Till I Save Myself," I realized this is THE GUY to host the highest-level songwriter roundtable in Austin as often as he can. Later he shared his very first song, written at age 16 after his mother passed away. "Broken" is true riches expressed in words -- how do you survive such a tremendous loss without having every bone in your body needing to learn all over again how to exist? "Outside" ended the set.

Good as all these songwriters are, the clear highlight of the evening for much of the crowd was the three-song interval set from MariClaire Gamble (backed by her brother Evan and a conga player named Mike). This X-sporting (under 21!) University of Texas student [left] thrilled her fans with "War Zone," the Hawaii-esque "Something New," and "Read Your Mind," which many could sing along with. Brother Evan and his band Jabberwocky closed out the evening. Aaron and Jennifer will be back at Antone's on March 5th with an all-new lineup.

Earlier on Wednesday I stopped by the Cactus Cafe to catch the release of Jenny Reynolds' new CD "Next to You" (produced by Mark Addison and Scrappy Jud Newcomb) and totally miss the release of a beautiful new CD from "Carrie Elkin" entitled "The Jeopardy of Circumstance."

Then on Thursday I was invited down to Stubbs' for the release of Austin Collins' new Fat Caddy CD, "Roses Are Black," and the preview release (the real one is Saturday night at the Cactus) of Graham Weber's brilliant "The Door to the Morning." -- Look for reviews of all four of these wonderful recordings once I have heard them a few more times! I gotta tell you, though -- Graham has a brand new band that he can hardly wait for all his fans to hear!

I also got out to TWO Goldcure shows --Saturday at Club One 2 One on 5th Street and Monday at The Saxon Pub -- and both featuring Stephen Doster on guitar and vocals. Doster and the boys just wrapped up the new recording (which may also unveil a new name for the band), and the live shows reflect the work of this master with his newly favorite pupils. The addition of bassist John Allison (who doubles as guitarist with T-Bird and the Breaks) has solidified this band, which emigrated from south Florida about a year or so ago. They've got a bunch of new songs (including "Stanley") and new arrangements for old songs that are tighter, meatier. Just ask the two ladies who stood mesmerized as Adam Buhrman sang that song.

But what a week it was. Sunday featured the Bells of Joy at Threadgills' --complete with original member A. D. Watson, who has been with the band ever since 1951. Tuesday night was busy -- Aimee Bobruk at the Scoot, then over to Ego's for sets from Jeremy Nail (whom I had also seen on Monday at Momo's), Suzanna Choffel, and Dustin Welch, and finally to The Saxon to hang out with Charlie Faye and her band -- Will Sexton, Gabe Rhodes, Joe Humel and Phillip Gibbs. Will and Charlie were just back from Folk Alliance, and somehow they got into a country set that cracked us all up.

Gotta say that Jeremy Nail has excellent taste -- Harmoni Kelley on bass! And great songs, too -- including "Storm," a terrifying tale fresh from Hurricane Katrina, and "Forgotten Child's Cry." Jeremy is a little Tom Petty, a little Uncle Tupelo, and all Texas -- from Albany by way of Texas Tech (which gives his Lubbock props). And Charlie Faye -- I had met her and knew that she was attracting great players for her sets -- but boy are we stealing the best of New York City! And as a return gift, flanfire is flying up to Gotham for a 3-day event (not music related) -- what a trade!

Gotta get some shuteye.

Flanfire -- Bringing LIFE to Austin music.

2008-02-21T18:19:00.008-06:00

Leah and the Zegernauts --

And Still More Leah!
Leah Zeger; Jim Foster. Below: Jenifer Jackson.

I first met Leah Zeger at a Hudsons' CD release party at the Cactus Cafe. I learned that this fiddle player was also once the youngest violinist to be hired by the Austin Symphony (a joy to her cellist dad and violinist mom, whom I met at Leah's gig at the Elephant Room with her hot jazz quartet, the Zegernauts (Jim Foster on guitar, Jacob Jaeger on drums and vocals, and Kris Wade on upright bass).

The set started slowly with some great standards (Lullabye in Birdland, I'm Beginning to See the Light) and the bossa nova number "Waves," which sounded like cherry liqueur. By this time I realized this violinist was maybe an even BETTER jazz vocalist -- as she interpreted Stevie Wonder's "Golden Lady." Jacob closed the set with a vibrant "Take the A Train." Foster was a joy on guitar -- that cat can play, and Wade had the even bigger Cheshire cat smile all night long -- he was having FUN!

By this time, Austin newcomer Alyse Black (a hot songwriter, winner of a Billboard award for original jazz song) had joined the party (as my guest). Leah opened set 2 with Fritz Kreisler and then Czardas (showcasing her violinist chops), then switched to two of her own compositions wrapped around "Cry Me a River." "The Day Before" was in a minor key (meaning sad?), but "You Ain't Got Status If You Ain't Got Me!" sparkled so much that men swooned and women marveled at Leah's chutzpah! And that one was only about a week old!

Alyse and I split great company in order to catch MOST of Jenifer Jackson's wonderful folk-rock set at Flipnotics (backed by all three members of the Gary Newcomb Trio, aka the Breathers minus Claire Hamilton -- Gary on pedal steel and guitar, Billy Doughty on drums, and Brandon Gonzalez on bass). Jenifer was sounding like Signe Anderson and the very early Jefferson Airplane as she gave us great songs one after another. Favorites include "After the Fire" and "Summer's Over," but this is poetry and beauty that was warmly received by a full house.

Tuesday I stopped by the Scoot Inn just long enough to be totally STUNNED as Steve Bernal was holding forth solo on cello before about three dozen music freaks sitting in rapt silence. Bernal, who will be part of the Aimee Bobruk CD release on March 4th, closed with his own "Dunes" and somebody's "Something in the Way She Moves."

Had to run, though, to catch Joanna Barbera and her new acoustic set -- with Ann Elizabeth Sauder on vocals and holding some drum-like instruments, Kyle Clayton on standup bass and vocals, and fellow About Blank veteran Danny Anderson on guitar. From "Red Roses" to "December," the first four songs just flew by -- and then Joanna slipped off the stage as Ann (who also sings lyric opera) broke into "Summertime," jazz style, yet ending with her wailing away in an upper register that sent goosebumps down most of our spines.

Okay, both these women are beautiful -- and they can sing. But they are also hilarious up there -- sort of a musical (but then they did some of those shows, too) Xena and Gabrielle, right down to Ann's bad jokes. I will forever be greatful to Jennifer Leonhardt for insisting that I go with her to see Joanna about a month or so ago. Of course, it helps a lot that Kyle and Danny's band About Blank is one of my favorite Austin jazz groups!

Wednesday began at Ruta Maya (eclipse, anyone?) for a fat set by The Summer Wardrobe that showcased songs from their forthcoming album -- and Jonny Sanchez' amazing electric sitar. It is always a great show when Sally Crewe is in the house -- Kullen Fuchs, too! After a few oldies but goodies, Jon and John and George and Marty moved on to a subset that included "Ocotillo Sunset," "When You Died," "Baby Let's Switch Graves" (the boys HAVE been performing as Roky Erickson's backup band), "One Longtime Feeling" (so smooth!), and the 15-minute finale, "One More Try," which again proves that only a few (SW included) can get away with it.

Then it was over to the Hole in the Wall to catch the last (and reportedly better) half of a set from American Graveyard (Country Joe and the Fish on steroids) and all of what has to have been Chris Brecht's best set ever. And why not? Start with a rhythm section of Billy the Outlaw Doughty and Bobby Daniel (whom I had seen on Tuesday along with gunslinger Brad Rice just after their set with Amy Cook), add in the amazing Hammond B3 (and harmony vocals) of super Matt Mollica, toss in some great guitar licks (and cool threads) from Gordy Quist (the Heathen), and then to make the recipe just right, just convince violinist/fiddler/superwoman Leah Zeger to join the band even though she has never heard the music before.

Chris is still just teasing us with songs from his forthcoming CD, "Not Where You Are," due out in MAY!!!! But what songs! And what great solos and harmonies -- and a great crowd, too! From "Night Highway 99" to "Absinthe Highway Blues" to "Lost Highway" to the grand finale -- all 17 verses of "Get There by Train," this young Colorado native who "played cards with the devil" has all of the verve of a young Rob Zimmerman but with a grace that the Hibbing hero rarely exhibited. [Chris seems always totally aware of his audience and draws energy as fans respond to his band and his songs.] I could not stick around to catch the Gary Newcomb Trio (love those guys -- catch them next time) -- but even without the Lonesome Heroes (making folk music in Memphis), this was pure joy all night long!

One more note -- Friday at Cafe Caffeine some of Austin's younger professional musicians will put on a show for those wise enough to be there, and then on Sunday it's crooner Craig Marshall unveiling his own new CD at Antone's opening for Bruce Smith and his great dance band.

Flanfire -- Bringing LIFE to Austin music.

2008-02-18T00:41:00.004-06:00

The Safety Match Journal:

Aimee Bobruk's Masterpiece

I just read that the Cowboy Junkies (aka the Timmins Family Band) have re-done their masterpiece, "The Trinity Sessions." Without Kim Deschamps?? I am quite sure that the new "Trinity Revisited" (with Natalie Merchant and Ryan Adams) will be a fine collection -- but probably not another masterpiece.

Not to worry. Deschamps, who now lives in Austin, is even today at the center of the creation of great music.

And this time it's Austin's own (by way of Huntsville) Aimee Bobruk and her own "breakthrough"album, "The Safety Match Journal."

Darwin Smith and Aimee Bobruk

The story of how this ambitious, yet generous small-town girl turning into a lovely woman met the people who worked with her to help create this amazing recording will one day be fully told -- and it will be an inspiration (we trust) to another new generation of songwriters and performers -- and producers. But for today, we can just marvel at what Aimee, Kim, producer Darwin Smith, and musicians Brad Houser, Will Sexton, Matt Mollica, Dony Wynn, John Thomasson, John Bush, Kullen Fuchs, Jon Notarthomas, Steve Bernal, Erin Bobruk, Dazvid Chenu, Charles Branch, Steve Moore, Ana Egge, Roberto Riggio, Travis Weller, Melissa Greener, and Brian Standefer have created. But that's not all -- the artwork here is by Australian artist Shaun Tan, whose fantasy picture book "The Red Tree" was the inspiration behind Aimee's amazingly beautiful "For the Lost Airwaves."

Lest anyone think I have fallen for a pretty face, I am hardly alone in my praise for Aimee and this recording. Standefer says, "In a city known for it's songwriters, Aimee stands apart by writing songs that carry great weight and soul and yet are delivered to the listener with a graceful hand." Tucker Livingston adds, "Lyrically and musically, [Aimee is] one of the best up and coming songwriters that Austin has to offer; her sheer talent is startling." But if you have ANY doubts, just go to Aimee's CD release party on March 4th at the Cactus Cafe -- and listen. Sadly, I will be on an airplane unable to get there. But that opens up YOUR seat. SO GO!

Before talking about the songs, let me just say that Darwin Smith and his merrie men (and women) have complemented Aimee's songs with daring, yet subtle sounds -- horns, percussion, guitars, strings, various keyboards, and who knows what all -- that make you know you are having a gourmet meal with ALL the trimmings. And we're not talking about a brunch buffet, but of fine wines and subtle herbs and spices that enliven every bite and make each one a treat. Listen to this recording in a quiet place without distractions -- it's better than any massage.

Aimee here is at once spiritually sensitive, humanly jealous, socially relevant, and hopeful that someone out there is actually listening. The same way she is on Tuesdays at the Scoot Inn, where she and Hilary York have created a real living room out of a dingy old bar. And, oh by the way, when not singing or working at Waterloo Records, she actually babysits.

From Deschamps' mournful pedal steel that introduces "Liverpool," to the ethereal sounds that end "Shores of Gold," this record is just plain beautiful. Brad Houser plays bass, bass clarinet, and baritone sax on this cut, which also features Deschamps playing banjo and John Bush's amazing touches and Smith's own guitar work. This is a love song, by the way.

"For the Lost Airwaves" may be the most beautiful song I have ever heard, largely because of Aimee's angelic voice -- and I also like the poetry: "licorice winds unfurl a vision, beautiful, more dazzling than your every thought could be," for example. Fuchs on omnichord and french horn, Riggio's violin solo, Mollica's quiet B3, Moore's equally gentle piano all help Aimee interpret Tan.

"Fools for Love" is a tough commentary on how we search for love in all the wrong ways, yet "what if things don't last and all she gives gets cast down in the end, she wouldn't change her ways if it meant losing passion." Even so, Aimee begs for someone to "shine a light down for the lost and wounded hearted." Here, Mollica's organ provides the power, while Chenu's flute (and sax) add the color and Wynn's percussion the flavor.

"Losing the Magic" is really a dance with a little Latin flavor: "If I say it out loud will it lose the magic, will I lose this magic feeling inside?" Sounds like our gal's in love. But then "Puppets in Play" gets back to the TOUGH Aimee. This is strong medicine -- people faking it through life is "an outrage, a Philistine haze, I think we deserve something better ... why don't we cut the strings and call it quits." And why should we be content with people who "smile when they mean to cut you down," who "shmooz until their nose turns brown."

Fuchs' quiet trumpet (he also plays trombone, melodica, and vibraphone here) opens the Latin-flavored, "Yo Los Veo" (I see you), another biting commentary in which "The ice cream man drives by every day and little dirty faces run to pay, standing barefoot crowded by the door" -- but Aimee reminds us that "we are different but we live in the same streets" as these poor souls.

"Dulcinea" features Weller on violin and Bernal on cello as Aimee opens with passion -- "I have wanted to wrap you in my tongue, dissolve you slowly, surely; I have wanted to be the muse inspiration wrapped in the scarlet of your song" -- you "holy troubadour, holy dreamer." "First Move" is more passion, but for a nation crumbling from within. "Where were you when it happened, who's to blame if nobody acted?" Smith's nasty guitar, Wynn's drum explosions, and Mollica on both B3 and Rhodes punctuate the lyrics to better tell the story.

But then Aimee sings of "Precious Jesus," whom she begs to come and "raise me from the dark," a dark in which "I have found the perpetrator, I see blood upon my hands, Guilty I stand before you, Jesus, have mercy on this broken heart." Recognizing the pain caused by past unfaithfulness, the songwriter pleads, "Might I love again?" The harmonies and Deschamps' pedal steel provide the frame.

But WOW -- jealous passion emerges in "Here She Comes," that woman who is "asking for your time, I think she's after you." Melissa Greener's echo vocals are a nice touch here, while Smith and Notarthomas on guitar and again John Bush on percussion keep this number moving.

The final two cuts return to that peaceful theme that we began with. "Blessing" (Standefer on cell0 here) expresses that amazing hope that, even though "you've had your chance to take what's good and make it last, but you threw it all away, careless in play," we can still "thank God for forgiveness, thank God for friends who call you on the bad shots and bring your drama to and end." And yet, Aimee shrewdly suggests, maybe we could do better than "running free" until things go so wrong that we finally ask for a blessing.

"Shores of Gold" is yet another story poem on many levels -- from Houser's baritone sax and bass clarinet to Standefer's bass to Bush's touches to Smith's elbow guitar -- to Aimee's lyrics, which tell of meeting "a woman dressed in clouds of white descending" who promises to guide our drifting sailor to the golden shores. But these shores are not found on the surface but rather the woman in white leads our sailor "down through a darkness where all my voices struggled to be heard ... down to a bottom where nothing lay." And, yes, it truly is not until we come to the end of ourselves that we find what we are looking for.

Good as these songs are, Aimee may provide us with even better ones as she continues her search for truth and meaning in life, continues to open her eyes and ours to the life (and not so life) all around us. Next time you go hear her music, hope she sings "So Human," which may just be the title cut from her NEXT recording. What makes this music so powerful is that Aimee sees that the flaws she finds in the lives of others are equally reflected in her own human frailty -- and that she -- like the rest of us -- is fatally flawed and in need of grace.

Just for the record -- Aimee and Hilary will be at the Scoot on Tuesdays through May -- except for March 4th (the CD release night) and March 11th (SXSW parties begin early).

Flanfire -- Bringing LIFE to Austin music.

2008-02-16T15:31:00.006-06:00

Guitar Goddesses: Carolyn and Meagan

Used to be a female lead guitarist, especially one who is also a singer-songwriter and bandleader, was a rarity -- even here in Austin. But how many of today's young gunsels have the firepower of Carolyn Wonderland and Meagan Tubb? Yeah, right! Both these guitar goddesses also have brand-new CD's that should further enhance their growing reputations.

Jason Nunnenkamp and Meagan Tubb; Carolyn Wonderland. Below: Cole El-Saleh has never been better.

Carolyn Wonderland

Now Carolyn was already a local legend in her native Houston long before I finally met her (and drummer Eldridge Goins) one afternoon in Austin at Antone's. My daughter, nearly a decade ago, wrote a report that referenced an essay about the blues in Houston, which even then would not have been complete without major mention of the part-Chilean redhead with the big voice and the ever-widening coterie of musical instruments around her. I would learn quickly that Carolyn never fails to honor her teachers/heroes -- guys like Lil' Screaming Kenny (Blachet) or the late, great Jerry Lightfoot. Also that she never forgets a friend, or more importantly, to BE a friend -- even as her star rises almost in spite of her own (yes) demurity and yet strength not to allow herself or her music to be compromised. [No wonder my daughter Melody loves her!]

Today it is hard to find any of Carolyn's early recordings -- those before she moved to Austin, before "Alcohol & Salvation" (produced by Eldridge Goins) and "Bloodless Revolution" (produced by Stephen Doster). One day, we suspect, those early efforts may be as priceless as bootleg Jimi Hendrix -- but I digress.

The NEW music -- aptly titled "Miss Understood" -- is the result of a collaboration among producer Ray Benson, the great Lloyd Maines (one major reason we have two Terri Hendrix songs here), the horn and strings arrangements of John Mills, and great playing from keyboardist Cole El-Saleh, bassist Glenn Fukunaga, drummer Jamie Oldaker, and Carolyn herself -- with additional contributions by Wheel-ites Dave Sanger and Jason Roberts, award-winning backing vocalist Wes Hightower, Texas musician of the year Shelley King, Austin gospel singer Tim Curry (whose Benson link includes "A Ride with Bob"), Guy Forsyth, Barry "Frosty" Smith, Jon Blondell, the Tosca String Quartet, and the amazing Cindy Cashdollar.

"Misunderstood" - the near-title track - is a straight-on blues gospel song about dying (I ain't got long for this world) -- Carolyn plays lap steel. Gotta be lots of airplay for this one. "I Found the Lions" (Hendrix-Maines, from "The Ring") is bluesier than ever as Carolyn wails, while "Throw My Love" (from "Places in Between") is tougher than ever with King and Curry supporting Carolyn's vocal energy. Did Bruce Robison write "Bad Girl Blues" just for Carolyn? He's too young to have had Janis in mind. Of course, Carolyn has her OWN song about being thought of as a "bad girl" (and she was kicked out of high school for organizing a protest) -- but that just shows us again how upside down our official society can be. A great song, sung well.

Carolyn told me that she and Ray actually got 20 songs in the can and had to pare down to an even dozen that fit together well -- "It was hard to see your own songs on the cutting floor," she admitted. Two other covers that did survive are long-time Carolyn favorites -- J.J. Cale's "Trouble in the City," which is naturally dirty, low-down, smelly -- like Houston, and Rick Derringer's "Still Alive and Well," which just flat ROCKS! Ray collaborated with Carolyn on two songs -- "Walk On," which features Carolyn on trumpet (plus an amazing guitar solo) and Guy on harmonica, and "Long Way to Go," which features Jason Roberts on fiddle. Both of these are strong spiritual songs that encourage us -- "Walk through the fire, walk through the storm, walk when it's freezing, walk when it's warm" -- "As I walk through this life I am never alone."

But I would wager that Ray had the MOST fun playing jazz guitar on "I Don't Want to Fall for You," an Eldridge-Carolyn collaboration that first appeared (with Carolyn scat singing) on "Alcohol & Salvation." THIS is just one example of why I can hardly wait (though I may have to) for "The Songs of Eldridge Goins" (and if HE won't sing them, I know a dozen jazz singers in Austin who would line up to sing them for him). The powerful closing song, "Feed Me to the Lions," is also a remake from "Alcohol" -- but with the Tosca String Quartet capturing the pathos of a woman to whom "no one talks to in the checkout line." Carolyn's piano on both versions is a rare treat.

What's left? Well, "The Farmer Song," which Carolyn was given in a dream -- and on which she plays the beautiful mandolin crafted especially for her. And one of my favorites -- "I Live Alone with Someone," another melancholy blues song that blew me away last week at the Saxon Pub. I have seen Carolyn with a wide variety of sidemen and as guest vocalist with Jerry Lightfoot (who also let her play some gee-tar) -- but never have I enjoyed her sets more than with the trio that includes El-Saleh and drummer Michael "Lefty" Lefkowitz (who apparently has a hot new band called -- LiverDog. After all, Carolyn provides the variety as she switches from one instrument to another, from one genre to another, and yet all the time with the same love for her audience and irreverence toward herself that is her trademark.

Meagan Tubb (& Shady People)

Want to hear something sad but typically Austin? I actually had to leave Carolyn's amazing set at the Saxon to get over to Ruta Maya for Meagan's CD release party. And yet it was well worth the sacrifice to catch the energy from this University of Missouri (journalism) graduate who escaped from California (where she went after graduation) to find a new home and family here in the Live Music Capital (along with a win at Poodie's battle of the bands that got her studio time at Pedernales and gigs with Willie). Some of you may also know Meagan from her role as a calendar "model," but until you get before her amplifiers, you might not realize that this lanky lovely can flat play rock and roll and the blues. But so can bandmate Jason Nunnenkamp (guitar, banjo), drummer Johnny Duran, and new bassist Wilson Carr.

Meagan opened her show on acoustic guitar but switched to electric when Jason picked banjo on "Yes I Do," and the race was on. Duran seems always smiling on stage (and why not?), and he and Carr (taking nothing away from former bassist Ric Ricker) make a solid rhythm section. For the record, the band brought in keyboardist Anthony Farrell of The Greyhounds. And I missed that sound on at least a couple of the songs (notably the amazing jam, "Argument with the Moon," which on the CD is over 7 minutes of pure joy. Meagan also introduced a bevy of brand-new songs, many of which will likely be on her followup recording -- songs like "Rapture" and "Flying" (which is about two angels).

The record, though, is pure smoke and sweat -- you oughta be worn out from dancing by the time the set is half finished. Meagan's vocals provide the sweat -- the twin lead guitars the smoke -- and the fire and brimstone too. Many of these songs are hot passion, while on others Meagan is pleading with God to make her clean (or crying out to Eve for "Take(ing) the First Bite"). "Invocation" lets the guy know he is already down two strikes but maybe still has the magic to keep her around. "Let Me Believe" is a second plea for that guy to let her "soak in your melody and melt with you in the rain."

"Lost and Found" tells of a journey to California and finding that "there's too many people who have run away from the old lives that they've known -- some away from their families, some away from love, some away from themselves, and the good Lord up above." The solution, in "Sunny Place for Shady People," would be to "head 'em up and move 'em out" from a life of "sharing stories and cheap beverages" and working in the city slum "in front of a machine."

"Beautiful Noise" (those twin leads fire us up!) is a prayer to "search for sweet transcendance which once again will find me in a state of dependence," and to "Baptize me so lovingly once I learn to forgive and I'll have known that you have shown what it means to truly live." But "Isabella" is a sad tale of a woman who is "barren at her core," whose true person "she hides behind closed doors." How many of us can see that image in ourselves, when we have failed to forgive, to love, to take those risks that can lead to new thresholds of human contact?

"Rock and a Hard Place" is the bitter dregs of a life with everything of value "burned to the ground," and of being "grateful" for "the friends I thought I had" who "left me stranded and alone when I was sad." How to escape this mess? A good first step is to grit the teeth and proclaim that they're "Not Going to Get Me Today," even when "sitting in a traffic jam like a whale beached in the sand," or when the loan sharks call looking for their money. It gets worse -- imagine a "Bumblebee" laughing about biting you on the hand or a king snake smiling about nibbling at your toe and biting you on the leg -- but only because instead of just admiring their beauty as they came by "to groove you," you lashed out at them. [I can hope for a slowed-down version of this song -- which just seems to fly by too quickly for the message to get through.]

Where to go? "Let Me Be with You" recognizes that "God has a way of letting you know when you've gone astray," and pulling you "back in to try again for a better day." The great news is that, "Make no mistake, you haven't cut your bridge with him," and that "God leaves a trail to let you know where you're supposed to go," if we will just stop trying to "push him away and out of mind" so as to "man your own ship through the sands of time." This is an anthem -- and the band frames the lyrics to maximize their impact. The way it's s'pozed to be.

Flanfire -- Bringing LIFE to Austin music.

2008-02-14T08:27:00.010-06:00

Mary, Mary -- and Bill Davis, Too!

Mary Cutrufello; Chuck Fleming.

What kind of heaven is Austin anyway, when you can go out to Momo's early on a cold Wednesday night and catch an amazing acoustic set from the likes of Mary Cutrufello? But you know what's weird? This A-List performer was practically providing this writer with a private concert. Have we all lost our taste in music, or is everybody just that poor?

Let's just start with the voice -- pure gravel and grit -- that matches the gritty toughness of Mary's lyrics -- from "American Rain" to "Black Maria" to the seldom heard "8-Second Lives," which was written for the documentary, "Chase the Dream," but cut from the soundtrack by a jealous major label that failed to understand that they would have sold MORE records by granting the extra exposure to this wonderful performer. Mary also pulled out the chestnut, "Tonight's the Night," but as a ballad instead of the uptempo version she recorded years ago. But it was Mary's guitar work on songs like "Johnson Motel," "Sonic Girls," and the set finale "Out of the Fire" that showed why this woman is a cut above most of her peers.

Not since Mandy Mercier has Austin been so blessed with a singer whose vocals were shaped by Connecticut winters. Mary spent a decade or so in Houston, made her reputation as an alt-country singer and guitar gunslinger, went to Minnesota for the mosquitoes and snows and lost her voice for years -- but she's back in Texas with even better songs (many on her recent release "35") and a maturity she has paid a price to achieve. Catch her with the Havoline Supremes at John Conquest's NOT SXSW at Opal Divine's Penn Field on March 13th or with her own band at Austin City Hall on March 28th -- but it is well worth the drive to Hondo's on Main in Fredericksburg this Sunday to catch the SOLO MARY show (not to mention the drive itself).

Now for the roundup. Before Mary at Momo's there was Victoria Hammill and a revamped Zeta Five featuring San Antonio piano man Marvin Mitchell (man, that cat can PLAY!) and West Coast gunslinger Phil Brown on guitar (with Mike Howard on bass and Craig Guerin on drums and Ed Hammill on rhythm guitar) -- lots of fun and a great rendition of Neil Young's "Down by the River." Later, I stopped by the Hole in the Wall to catch the debut performance by Chuck Fleming (drummer for the Lonesome Heroes) as a singer-songwriter backed by "The Infamous They" -- Hope Irish on harmony vocals, Seth Gibbs on drums, and Peter Stafford (The Archibalds) on bass. Chuck, who promises product soon, sings about "dancing in the rain," getting his "walking papers" (Read Em and Weep), and being "forsaken by my dreams." And did I really hear him sing, "my girl's a fish"?? Hope (known for her theatrics in her own band) was an absolutely wonderful singing partner for this gentle spirit with the big smile. Read: WARM!

Tuesday featured a quick trip to Momo's to catch Will Dupuy's new venture, La Tampiquena -- with Matt Lara on keyboards, harmonica and accordian (playing Freddie Fender and Flaco songs too) and fellow Lubbockite Spencer Murchison [photo] on mandolin -- plus drums and guitar. Will debuted this band last November with Willie Pipkin sitting in, and the lineup has changed, but what you get is the songs Will made famous in the South Austin Jug Band and more of the same from the sleepy-eyed bass player -- "Doghouse" (hmmm!), "Mountain Whiskey," "Summer Sunset," and lots more. Sort of a combination of whiteboy Tejano and Hill Country hilarity. And, oh yeah, this band is so much fun they even get drummers [Jeff Botta and Nina Singh generating a ball of fire and blue heat] up to dance!

Then it was over to the Scoot Inn to fulfill a promise to Hilary York to catch her cousin's band who had come up from Conroe -- but what a surprise. "Three Fantastic" features cousin Charles Peters on (sometimes screaming, often provocative) vocals and guitar, a writhing Kelly Doyle [yes, he cleaned up the Scoot's dance floor with his back] on lead guitar, David Taschery on drums, and Truman Cox on bass. Can I say, "quirky" -- and yet powerful! Violinist Leah Zeger of the Austin Symphony (okay - her own jazz group is at the Elephant Room on Monday) says this is one of her favorite bands (and that Doyle is a fantastic jazz guitarist, too!). Their "mascot" speaks of "their invention of a scale that uses only 3 notes," "their new time signature 8/8," and "David's unbelievable ability to play sixteenth notes." [That's Leah hanging out with songwriters Gordy Quist and Chris Brecht as they all enjoy the Three Fantastic quartet! And, yes, the date is phony -- stems from laziness.]

Moving further backward, Flanfire spent parts of both Sunday and Monday nights at Antone's -- first to catch the Antone's debut of songwriter Bill Davis, then to catch another great set from T-Bird and the Breaks (with Ricky Stein opening). Gotta hand it to Tim Crane, pouring it out with a 102-degree fever, belting out "Sunday on My Own" and so many other great songs (with great support from vocalist Sasha Zoe and the all-star band) before an energetic but dance-floor-shy (??) crowd.

I also have to mention the great set I caught on Saturday night at Ruta Maya from Latin at Heart (Billy Wilson plus Steve Zirkel on bass, Jeff Botta on drums, and Charles Rieser on lead guitar, with saxophonist Tom Robinson sitting in). While La Tampiquena claims to be Austin's only English-speaking Tejano band, Billy sings wholly in Spanish, much to the delight of the crowd, which was also came to see Gina Chavez (and her full band), El Tule, and Boca Abajo at the Noche Latino show in support of the Austin Music Foundation.

While at the show, I also got some scoop on the second annual Texas State Arts Festival, to be held March 1 and 2 across from the Texas History Museum. This is a great outdoor event to which you MUST take the kids:

SATURDAY MARCH 1

10:00 am Gina Chavez

11:15 am Buttercup

12:30 pm Shotgun Party

1:45 pm Sunny Sweeney

3:15 pm Carolyn Wonderland

4:45 pm The Black and White Years

6:00 pm American Graveyard

SUNDAY MARCH 2

10:00 am Sahara Smith

11:15 am Amy Cook

12:30 pm Nakia with his Southern Cousins

1:45 pm Ray Wylie Hubbard

3:15 pm Future Clouds & Radar

4:30 pm Cerronato

5:45 pm Grupo Fantasma

Flanfire -- Bringing LIFE to Austin music.

2008-02-08T22:34:00.000-06:00

TheHeroCycle: Acoustic Teens!

Little did I know that, shortly after encouraging 14-year-old Althea Capra (of AE3) to do more acoustic music that she and bandmate Griffin Yu would form TheHeroCycle. I was even more clueless that this dynamic duo would start their own acoustic songwriter showcase for teens at Cafe Caffeine -- nor that 50 to 75 of their closest friends and some first-time listeners would routinely show up for what I am quickly learning are some of Austin's most honest, thought-provoking songwriters and gutsy performers -- none of whom are old enough to vote.

But then again, this IS Austin, so one should hardly be surprised. Last Monday, for example, I got to hear 16-year-old (soon to be 17?) jazz pianist Dylan Meek, who hails from Wimberley but has already begun making the rounds at the Elephant Room and similar venues in central Texas. Late into that evening he was jamming with the likes of Warren Hood! Jazz is but one of the art forms that Austin teens are eagerly exploring -- with both passion and developing talent.

Friday night (and, yes, the next of these shows is Friday, February 22nd) it was TheHeroCycle (Griffin and Althea) backed by (adult) bassist Gary Hart -- plus special guest Fabi, a 16-year-old elfin songwriter who brought up other members of her band The Silver Series for her final number. Talk about guts -- Fabi had a 104-degree fever earlier in the week! My favorite of hers was (maybe this is the title) "Never Too Old to Dance," or maybe it was (??) "The Same Sad Songs" (or is it, "In the Cage"?).

TheHeroCycle opened up with "Saturday Morning Moonshine," which can be found on their myspace page (note -- another TheHeroCycle hails from Vermont! so go to theherocyclemusic on myspace to find this band). The sizable, largely young audience was pin-drop silent, though maybe not totally still. On the first four songs, Althea just held the mike and sang -- "Flashing Lights" is just one of her songs that people will ask for over and over. [And, yes, the duo is playing Cafe Caffeine AND Botticelli's during SXSW -- and hopes to have "product" by then.]

When Althea switched to guitar for "Fever," Griffin switched to percussion box; later, he picked up an electric guitar to play rhythm on "Down," and went back to the box for "You Don't Have to Walk Alone," one of Althea's many songs with deep meaning. The second set opened with "Beauty in Action" (they sang this one for my Nancy last month!) and then it was three brand-new ones wrapped around AE3's "Borderlines." I REALLY liked "Sunshine State" (not a place but a state of mind!) and "Touch the Sky," written in Griffin's driveway just last week. Althea reminds me personally of a younger Aimee Bobruk -- who also encourages other musicians by hosting showcases and whose songs also challenge our souls and spirits.

OKAY -- Thursday night I DID go out to see Carolyn Wonderland AND Meagan Tubb and picked up BOTH of their brand-new CD's for review -- but I have to listen a few more times, so just hold your heartbeats. Briefly -- both records (and live shows) R-O-C-K -- and why not? Both of these wonderful women are strong lead guitarists with even stronger voices -- and yet both are very very feminine and compassionate -- and tons of fun. Gotta mentiion also that Candy Sanders and Natalie Zoe's new project - CandiLand - puts on a rockin' show that keeps getting better every Thursday HAPPY HOUR at the Saxon these daze.

Wednesday evening (no camera -- OOPS!) it was half an hour of the amazing Shotgun Party (with those gals wearing RED dresses!) and then over to Flipnotics' Triangle for the seven-course gourmet meal of songs from Nathan Hamilton. Two big bonuses -- Mike Meadows (of Porterdavis) playing the box (and other percussion!) with Nathan, and soulful tenor A. J. Roach stepping up from his comfortable chair to share three songs with us.

One can never say enough about Tuesdays at the Scoot Inn -- Hilary York and Aimee Bobruk are two wonderful, very different but so mutually supportive women (of whom I probably write too often). This night Hilary had Darwin Smith and Kullen Fuchs (as did Aimee) PLUS Julie Lowery (more on her later) -- loved that "Parlour Tricks." Aimee closed out the night with "So Human," a song NOT on her brand-new CD, "The Safety Match Journal" -- and one of the most compelling songs ever.

Guest stars for the evening included Mike Hall (that Texas Monthly writer, Wild Seed, and Woodpecker), who brought Julie Lowery (Fire Marshals of Bethlehem, The Service Industry, and of course the Woodpeckers) and longtime Wild Seed Randy Franklin with him -- and the Fundamentalists (minus one) -- Brennnen Leigh, Justin Kolb on bass, and Silas Lowe (switching back and forth with Brennen between mandolin and guitar) doing old-timey gospel numbers standing around an old-timey-style microphone. Now, I had seen Michael and Julie on stage together last at the Our Man Flynt benefit a year ago -- and it is so much fun to hear, "Baby You Scare Me," "America (the band, not the country)," "Revolution in Cuba," and even "Put Down that Pig," ESPECIALLY knowing that they will be back at the Scoot on another Tuesday soon for a repeat performance.

Flanfire -- Bringing LIFE to Austin music.

2008-02-02T23:58:00.000-06:00

Feeding 5000 -- Strong Nineties;

Sheboygan -- Sweet Sixties!

While on my way to catch some old friends this week, I stumbled across two very fine bands, both with brand new CD's to share. Feeding 5000 (stripped down version) was at the Dirty Dog on Sunday [see show review], while Sheboygan was rocking the house at the Hole in the Wall on Friday night. And, yes, I am holding off on reviewing Aimee Bobruk's amazing CD (great work by Darwin Smith and his band of merrie men -- and women) until closer to her March 4th CD release party at the Cactus Cafe (which is about a week after Jenny Reynolds has her OWN CD release party there, featuring Scrappy Jud Newcomb and a full band).

Before I get into the reviews, I must mention that somewhere in the week there was Tuesday at the Scoot -- with Chris Brecht and the Broken 45's and the Gary Newcomb Trio -- and Wednesday at the Hole in the Wall -- with Darwin Smith (with an impassioned version of Townes' "Flying Shoes") and of course the Lonesome Heroes (and that cute Sarah Stollack on fiddle). At least 25 of my friends showed up both nights -- it was like a two-day party with all of the same great people -- and great music.

Gary, by the way, will be HOSTING the Alt-Country showcase at the Hole next Wednesday -- a very "heroic" thing for him to do.

Above: Landry McMeans, Sarah Stollack, and Jeff Johnston (plus the drummer); Below: Victoria Hammill; Kullen Fuchs, Bryce Clifford, Travis and Doug jamming out; that Bryce always DOES attract the ladies!

Anti-football folks take note that Gina Chavez will be playing at Jovita's during the game -- should be a fine show. Jovita's -- that's right! I was there Wednesday to see Slowtrain, and again on Friday to catch Victoria and Zeta Five (but of course Vic and Ed were sitting next to us on Wednesday, checking out the venue). That woman can play some electric fiddle! Sing, too! But I digress ... Slowtrain also played the Hole on Friday, with some Bryce Clifford band thrown into that late-night mix that should have had more time to develop. That's a great new song about Mavis Staples, Adoniram -- but get yourself some new harps so we can hear CHEEVER again. We are still waiting on the Slowtrain CD; meanwhile, Bryce is actually in the studio working on his second Austin release. Lots of good product around.

But back to Feeding 5000. I can hardly wait (well, I will have to) to hear the full band, because the CD "The Books We Read" is smokin' -- and cleverly put together. It is also as serious as a heart attack -- reminiscent of Live meets U2 (with maybe a little Seattle grunge thrown in). But U2 especially on "Fly," musically, that is. Curious minds reflect that Jesus fed 5,000 a couple of times. These guys, though, want to feed a lot of people with music that has chewable words and savory melodies and power chords (courtesy of guitarist Michael Gonzalez). Drummer Alex Geismar, keyboardist Aaron Brown, and bassist Jeremy Rocha all lay down the sound that enables singer-lyricist Kelly Scott Taylor to soar above the noise with great power.

The band, which has been a perennial opening act of late (Everclear, Toadies, Blue October, Los Lonely Boys, etc.), may be on the verge of a stepup with the acoustic trio Triple AAA radio campaign for "Sing Out Loud," which many say is the recording's strongest cut. Others like "Last Wish," which includes the promise that "I'll be with you in your prison tonight." Me, I like "Books," just for that line about "when California's gone, the righteous remain wrong." But the finale, "Carry On," IS the anthem with a promise -- "If you ever fall, I'll lift you from the ground; if ever you doubt, let me turn your faith around. Whatever it takes, we'll carry on."

For those who like metaphor, one might suggest the band is saying here a lot about how the "righteous" are just not with God's program. In "Amnesty," we learn that "far from righteousness, inequity remains. The blood we spill will leave an avalance of shame. May amnesty be our fate." "Something More" begins with "Right of center, left of sure," a commentary on our nation's skewed politics that seems always to eschew true service for posturing. "Systems all outta whack" is the result. "Books" adds that, "Our future suffices as long as the laws we've been give have already been written" (and still enforced). "This Song" flatly states, "We're running out of time." And in "Reach Out," again we hear that "Maybe the time ain't on our side ... maybe the moment's out of our hands."

There IS an answer -- "look to the sky, fly, elevate, lift your body from the ground.... breathe, rise from your knees, SEE what's shaking our world and what's breaking us." and then just "Carry On." I really liked this record -- two thumbs up.

Now on to Sheboygan (which I belive is in Wisconsin; is OUR Cory related to Sheboygan orthopaedist Dr. Scott Glaeser?). I walk into the Hole as drummer Gray Parsons has taken total leave of his senses (er, sticks) and is pulsating into the microphone with beat-box style noises while the rest of the guys are flailing and wailing away. Caught my breath (noticed Johnny Vogelsang and Cory Glaeser and Chris "Rusty" Gebhard on the stage) and said, "I didn't know Johnny V got to play lead guitar!" Then I started listening (as I also watched a very energetic houseful of Skyrocketers and Slowtrain fans together having a LOT of fun.

Cory and Rusty and Gray WERE the band when they went to George Reiff to record this CD over a year ago (Johnny must have been on tour). Jeff Johnston (who did grace the stage on Wednesday for the expanded Lonesome Heroes entourage) added some saw sounds. My second impression of this band was -- the Hollies (Graham Nash and friends) -- meaning the vocal harmonies were absolutely FINE! Now, I must admit that the live set included a bunch of new songs, including Vang's "Bittersweet Departure" (title guess) and Cory's "All the Tea in China," which fittingly had an oriental sound.

This is a SWEET album of upbeat, joyful and just plain FUN music that fits the title, "It's OK Say Yes." From the "Prelude" (a ticky-piano ditty) to "The Stars and the Moon" to "Star Child" all the way through to "Time Machine" (my very favorite) and "Birth of Venus" (love song's still the end), the CD has the same effect on people as the live set did on the Hole crowd. It must be "The Power of Suggestion" (the final cut) which the boys admit seeks to "make you love me."

"Stars" has that Beatles feel to it -- "said I'd give you the stars, I'd give you the moon," and even some of those Paul McCartney "whoo's". "Star Child" (there's Jeff's saw) will "fade into the night like a star that's so bright," but then there is this a cappello three-part barbershop harmony verse that leads into the guitar solo that is just KILLER! You feel like you're on a yellow submarine! Yet you end up realizing that this might be a song about a lost love.

"Everybody Knows" has that Sixties R&B feel to it, then morphs into that British pop sound for a while. How is it that Glaeser and Gebhard write songs that so easily complement each other? "Dream" hopes that "you'll be there someday with me" -- in the dream that is life. This is soooo Hollies! "Got No Game" is uptempo, as is "Til I'm Over You," which starts off with "You say you wannt hang out and be the best of friends" -- but it was the "you say" that reminded me of 4th Street for a brief second. But what harmonies! I just LOVE this song.

Even so, it's "Time Machine" that clears out all of my cobwebs. [Where HAVE I been not to have caught this band?] "I've got a question, girl, that's been on my mind, can I put us back together?" That time machine might just change their lives -- because "the second time is always better." Second verse starts the harmonies. Then there is "I Got So Sleepy," which reminds us that "that was then, this is now," as we dance the sleepyhead's waltz. And just when you think you are yawning, "Birth of Venus" starts off with those harmonies again -- but fortunately for the oversleepers, the song quickly turns into a pop shuffle that reminds us that "love songs fill the air" when you just sing like these guys do (nice piano work, too!). The finale has that saw again -- and that sleepy theme as well. The wonderful Darin Murphy produced a four-song EP for these guys back in 2004 -- he must LOVE this record a lot!

Flanfire -- Bringing LIFE to Austin music.

2008-01-30T00:34:00.000-06:00

Have I Died and Gone to Heaven?

Stefanie Fix; Jennifer Leonhardt; Hilary York with Kullen Fuchs; Aimee Bobruk with Darwin Smith; Chris Brecht; Jenny Parrott dancing with the birthday girl to JWW and the Prospectors (late Tuesday at the Scoot);

Must be so -- where else do you drop into the Dirty Dog on a Sunday evening and get treated to an amazing set from Feeding 5000 (their stripped down acoustic trio version) on top of four or five other excellent singer-songwriters, stop by Artz Rib House on Monday to relax with Sarah Elizabeth Campbell and the Banned and get treated to a stunning set from the captivating Stefanie Fix -- and then go over to the Scoot Inn for your birthday surprise from Jennifer Leonhardt (well, it FELT like my birthday - and for dessert we hiked over to TC's for a little bit of The Little Elmore Reed Blues Band -- and then back to the Scoot on Tuesday, where Chris Brecht and Gary Newcomb were the guest performers in what increasingly feels like the big living room of the house that Aimee (Bobruk) and Hilary (York) built with their own bare hands.

I could write a lot about Chris Brecht and the Broken 45's, whose new record is nearly completion. This evening the band had a camera crew in for a photo shoot, and Chris brought a lamp from home and who knows what all else to further enhance that living room feel. He also brought his great songs and great players (notably Ray Jackson on pedal steel and Matt Mollica on Hammond B3) -- and his new-found beard. Newcomb's own pedal steel playing was magnificent, and his Trio (Brandon Gonzales on bass, Outlaw Billy Doughty on drums -- he also played with Brecht this evening) played both covers and originals with a zest that kept the huge crowd (a house packed with songwriters and pickers) well within their comfort zone. The fourth Breather - Claire Hamilton - was in the house as well -- along with such folks as Ricky Stein, Tucker Livingston, Sarah Stollack, and Matt Maye. Hilary York is always a joy to hear -- that sultry, sexy svelte supernova.

But I cannot help but devote my space here to Aimee Bobruk -- partly because I have watched her work so hard to build her talent for bigger stages and yet recognize that sometimes she still wonders what she is doing in front of so many people (and her crowds will get much bigger!) and remembers that she is not alone. Her long-awaited CD, "The Safety Match Journal" (with cover art from Shuan Tan) is now available at Waterloo Records -- and she is having a CD release party (with the great players who lent their talent to what I am already recognizing is a CD every bit as special as (and very reminiscent of) the Cowboy Junkies' Trinity Sessions (and yes Kim Deschamps played on both). But I promised Aimee not to publish my "review" until mid-February -- and yet just giving a little tidbit is not a review. So today's tidbit is that the artwork on the insert that also contains the lyrics and player lists is worth the price of the CD all by itself.

But then my wonderful Jennifer Leonhardt also has created some amazing music, some of which she showcased on Monday evening at the Scoot -- and someday soon I will write, but that evening I was just taken aback by her wonderful spirit and wrote nothing down at all. [Well, I was sitting with Joanna Barbera, Ann Sauder, and Tara Craig -- all friends of Jennifer -- but it was the first time I had heard nearly all of these songs and I just wanted to breathe deeply and get the FEEL rather than ANALYZE what she was saying. I was expecting maybe the high-energy Jennifer, but all of the songs were quiet but hardly mellow. Jhon Bellizia on bass, Victoria Hammill on electric violin, and Adam Temple on guitar helped create the mood -- but I was in the mood from the moment of that first two-minute hug. TC's was an extra treat -- with Jimi Lee and Eve Monsees and an amazing female harmonica player sitting in with regulars Willie Pipkin, Dale Spalding, Mark Hays and J. P. Whitefield (Mike Keller was on the road) -- and the cherry on top was Sasha Zoe blowing the house down with "Mojo Working" to close out the night.

On Sunday, I stopped by Jovita's early to catch half of Joker's set and all of Blues Mafia's -- got to hear yet another new song from this great young band (which shares its rhythm section with Joker). Then it was on to the Dirty Dog, where I had promised Jennifer to catch a set from Tara Craig (who had moved to Austin a while back but has just started playing out). Tara shared the stage with my new friend Matt Maye, and they were followed in turn by host Sideshow Rob (Cooperman) and Dertybird's Clayton Colvin (who hails from Muscle Shoals and clearly escaped with all of that city's famed musical heritage grafted into his soul). Rob and Monte have created a comfortable scene for musicians at this cavernous Sixth Street joint (with massive help from the Dog's Ben Davis and his great sound system).

But not every night do the boys have the likes of Feeding 5000 -- the five-piece alt rock band that has been making waves all over the place. But this was the Feeding 5000 acoustic trio - vocalist Kelly Scott Taylor, guitarist Michael Gonzalez, and drummer Alex Geismar on djimbe. Keyboardist Aaron Brown was present, but I missed bassist Jeremy Rocha. The trio is about to head off to San Diego to embark upon a major radio station tour to promote the full band's new CD, "The Books We Read," which is getting rave reviews from all over --and why not!

I am already thinking Austin's U2 not for their sound but for the content of their songs. "Amnesty" in fact sounds more like Kansas. These songs are like conversations set to music -- and yet the poetry works. Almost too well for the comfort zone (which if of course the intent -- to get us OUT of our comfort zones and into the fray). And "Amnesty" hits us in the breadbasket with these and other lines: "Remnants set in virtue burn within the haze; Far from righteousness iniquity remains."

Maybe my favorite here is "Sing Out Loud" -- "Listen as the strong at heart sing out loud. May all the damned and all the lost be found." This is a call to those with songs in their hearts to "follow the sound" and to be wary of "Ol' Scratch." This music is all about power vocals -- that is, about being strong and singing out loud. Some words that wake us up -- "I promise to put on a better face" (Falling Further); "Fruitless face in the window, Vacant and hollowed, Eyes begging for mercy, Invaded and thirsting for balance from the tilt" (Last Wish); "Have we drained our discern? Conforming to structure. Ungrounded we suffer. Abating transmission. Will nobody listen in?" (Reach Out). "Fly" really does remind me of U2 - "To the sky, fly, elevate, lift your body from the ground." And "Carry On" brings the promise that, "If ever you fall I'll lift you from the ground. If ever you doubt, let me turn your faith around. Whatever it takes, we'll carry on." Good music -- provocative concepts expressed well. And, oh yeah, the music rocks, too.

One more thing -- what with Aimee having her CD release at the Cactus on March 4th and Hilary being so in demand so many places, there are rumors that their "Chicks with Picks" showcase will end its run at the Scoot Inn at the end of February. My friends -- this is the most fun one can have anywhere in Austin (okay Rich and Landry -- your Wednesdays at the Hole are fun, too, but this is almost like a private party to which everyone is invited if they only knew just how cool it would be to come). So my charge to you is to write your friends at the Scoot Inn's management -- http://www.myspace.com/redscootinn -- and let them know you want them to BEG Hilary and Aimee to stick around a few more months ... and keep the scene alive. [Maybe they have friends who can host once in a while so they can get more breaks -- but those who have been there know just how comfortable the Scoot on Tuesdays has become as a songwriter's gathering place -- where else would we all go?

Flanfire -- Bringing LIFE to Austin music.

2008-01-27T09:00:00.000-06:00

Youth, Age Will Be Served!

Stubbs' Bar-B-Q has long been known as an all-ages music venue as well as for its signature finger-lickin' food. We all owe a lot to the late C. B. "Stubb" Stubblefield - who like so many legendary Lubbock natives left his hometown to grace Austin with some great food AND great music.

This past weekend, state senator Kirk Watson sponsored a "Register to Rock" event at Stubbs -- featuring eight of Austin's hottest teenager-led bands, including Joker and The Daze, both of whom have signfiicant roles in the upcoming major motion picture "Will," whose stars include Vanessa Hudgens of the "High School Musicial" series, Disney star Alyson Michalka (of Aly and A.J., who just opened for Hannah Montana/Miley Cyrus on Thursday night, and "Friday Night Lights" star Scott Porter (he's the quadriplegic quarterback).

An acoustic version of The Daze (Chris Ritchie and singer-songwriter Evan Butts; drummer Aaron Lemke was out of town) opened the show, followed by sets from Shockraid, Joker, Dell Valle's Noise in Action, and The Fireants (featuring Ian Stewart on electric violin) -- all of which acts I missed!? I DID get to catch Max & Henry (singer Max Tolleson, Henry Gillespie on lead, Victor Ziolkowski on drums, and Troupe Gammage on drums) -- those boys love to rock! Next up was keyboardist A. J. Vincent (who has some chops; his other gig is The Bright Light Social Hour) -- and closing out the show was Blues Mafia (which shares a rhythm section with Joker). Lots of people registered to vote during the event, which was well attended all afternoon. Apparently, Butts' mom came up with the idea for the register to rock show, sold it to Sen. Watson, and good things happened.

I had just been at Stubbs the night before for sets from The Alice Rose (who are already working on a new recording), The Lonely H (average age, 20), and The Century (the old Black Water Gospel but with David Jimenez replacing Jesse Duke on lead guitar). The Lonely H -- which hails from Port Angeles, Washington, and played SXSW two years ago and will be back this year -- plays classic rock. Lead singer Mark Fredson (who also plays keyboards) is not yet 19; neither is drummer Ben Eyestone. Brothers Eric (guitar) and Johnny (bass) Whitman, like Fredson, are surfer dude type blonds; Johnny (shown with Slowtrain bassist Matt Roth) just turned 21 -- these dudes could have stuck around for the Register to Rock show, but are actually on a three-month road tour that will take them just about all over the USA. They won over an Austin crowd chock full of other players who virtually adopted them and put them up for the night -- after what I hear was a "little" after-hours fun. But that's what makes Austin special -- that and the fact that the local lads were impressed that the "H-ers" had played Juarez, Mexico the night before. [Longtime fans note the absence of former lead guitarist Colin Fields -- who opted to stay in school this quarter, giving the moustached Eric Whitman the "lead."]

A highlight for the weekend, though, was the long-awaited debut of The Century -- with old BWG standbys Juan Gutierrez on vocals and guitar, Travis Woodard on drums, and Dan White on bass adapting to the very different guitar style of Berklee-trained Harlingen native David Jimenez (seen also with Bruce James). The same old songs have been recrafted -- a little slower, more dramatic (especially the wonderful "Goldmine" and "Conspiracy Row"), and maybe a little darker (how can you play dark sounds with the ebullient Mr. Duke?). Slowtrain's Adoniram Lipton joined the band for most of the songs, including "Big Black Cadillac" and some brand-new numbers toward the end of the set. Juan slipped in a Pearl Jam cover before ending with "I Shall Be Released," with Adoniram on guitar and Nathaniel Klugman on keyboard. One of the new ones, "Skeleton Tuxedo," has a jazz feel -- this was good stuff!!! And I cannot forget to mention that the boys also played "Fool's Good," one of my very favorites.

A. J. Vincent; Max & Henry; Blues Mafia's Sasha Zoe; Denia Ripley and Donna Hightower. At top: Mark Fredson of The Lonely H; Juan Gutierrez of The Century; bassists Johnny and Matt share secrets!

The OTHER venue I visited (TWICE!) this weekend was Central Market -- yes, the food, but Suzanna Choffel on Friday and the amazing Miss Donna Hightower on Saturday would be more than enough for someone on a total fast to show up for the music meals they served. Suzanna is -- please go to www.famecast.com and vote for her and/or Ginger Leigh -- just back from Vegas and the Dell Lounge, and on this evening drummer Eldridge Goins wore a suit and tie. Johnny Vogelsang and Laura Scarborough added their touches to make Suzanna's show a hit with diners.

BUT not even Suzanna can hold a candle to the 81-year-young Donna Hightower, who has been blowing people away with her voice and driving men wild with her smile (just ask BB King!) ever since she was "discovered" while singing as she cooked food in a Chicago restaurant over half a century ago. "Little" Donna spent most of her career living in Spain where she shared stages with nearly all of the greats of the jazz era -- but God graced us here when she "retired" to live in Austin a decade or so ago. She still gets around on the local jazz circuit when not singing in church -- or cooking up a storm for her friends and family. Donna and Natalie Zoe have been recruited by Central Market for a musicial menu television show where they will once again sing while they cook -- just like the old days.

Donna's show on Saturday featured duets with the lovely Denia Ripley (whom she calls her "granddaughter") on "Bye Bye Blackbird," "April in Paris," and more plus solo work by Donna on "Georgia on My Mind," "Secret Love," and others -- plus Denia doing songs like "Teach Me Tonight" -- and that was just the second set!

Flanfire -- Bringing LIFE to Austin music.