Friday, 17-March-2000
The best day. Roots-Rock, Psychobilly, Alt.Country, Stoner-Rock, Soul-Rock, Native American Music, and that was just the afternoon... The 10pm slot was the worst of the festival: Five bands I would die to see on any day all played at the same time...
Jim Roll @ Cheapo Records
"With a lyrical feel somewhere between the wry glimpses of Michael
Hall and the candid conversations of Lonesome Bob, and characterized by
sounds akin to Hall's roots-aware smorgasbord - or, when an accordion makes
the scene, maybe 5 Chinese Brothers - Ready To Hang has moved to the top
of my listening pile mighty fast." -- Rick Cornell (No Depression)
Despite the early hour (1pm), band and audience were in a good mood, resulting
in a superb set with stripped-down arrangements (Acoustic Guitar, Accordion,
Guitar, Lap-Steel, Bass). A perfect way to start the day.
Rev. Horton Heat @ Waterloo Records
"Still thumping the Good Book of psychobilly with bug-eyed zeal, the Reverend Horton Heat shows signs of mellowing, but precious few of slowing down. His latest LP, the Paul Leary-produced Spend a Night in the Box, is more Brian Setzer than Link Wray, but the wicked gleam in the Reverend's eye is the same as it ever was." -- Christopher Gray (Austin Chronicle)
Was it 1993 or 2000? The Reverend has been delivering his high-octane Psychobilly sermon reliably for years now, and it's still fun.
Marah @ Waterloo Records
"Cocksure, beery and intense, Marah live is much more than any alt-country
category suggests. In fact, they're not very country at all; it's just damn
good music. They could easily be the lost sons of The Replacements. Dave Bielanko's
vocal style is somewhere between husky and snarling and the band's rhythm
section is fierce. Bielanko and brother Serge keep up the pace with loud
guitars and it all melds together into one great big and beautiful mess."
-- Tyler D. Johnson (Austin 360)
"Most alternative country shit I think is boring -- most of the records
people send me I don't like. I'm not going to slag anybody, but there's just
so much mediocre music." -- Dave Bielanko (Marah)
Right on! You can call Marah a lot of things, but they are certainly not
boring. They had played their official showcase the night before, and looked
liked they had partied all night. "Dawn Patrol", as Dave called it. The place
was tightly packed for their 3pm set, and all tiredness vanished when they
started playing. They looked like shit and rocked like hell, throwing in a
cover of "Magic Bus".
Fu Manchu @ Waterloo Records
"Fu Manchu knows that the only thing that should have survived the
Seventies were guitar riffs. The SoCal quartet not only defends the honor
of arena rock, they preserve it completely -- unaltered and undisturbed.
When they step onstage, they take you back to an era when gas was scarce,
Nixon was president, and metal was king." -- Michael Bertin (Austin Chronicle)
Time for the hard stuff. Heavy riffs, long hair - another band risen from
the ashes of Kyuss. It took them some time to set up their Marshall stacks
and, as expected, the volume increased significantly compared to the bands
that had played earlier. Earplugs were in high demand. The place was packed,
the Fu Manchettes danced on the counter and a good time was had by all.
Robert Bradley's Blackwater Surprise @ Waterloo Records
"For over 20 years Robert Bradley made his living busking on the
streets of Detroit. One day his future backing band heard him singing on
the streets outside the studio where they were working on another project.
Part Motown, part gospel, and part straight-up rock & roll, Time to Discover,
their latest for RCA, hits shelves this spring." -- Michael Bertin (Austin
Chronicle)
A Rock-solid band with a lot of Soul and blind Robert Bradley's hoarse Blues
voice immediately reminded me of Mitch Ryder & Detroit Wheels. A short,
but extremely enjoyable set.
Keith Secola @ Cheapo Records
Keith Secola is a native American Indian and his music blends traditional
influences with a healthy dose of Neil Young. He has released several CD's
and has toured extensively (even in Europe). Unfortunately, very few people
came to see his dinnertime in-store set. Keith, who played solo (both electric
and acoustic guitars) didn't seem to mind, and even asked two of the youngest
members of the audience to join him on stage...
Beaver Nelson @ Copper Tank (Main Room)
"In the same vein as Townes Van Zandt, Beaver Nelson is a songwriter
with an interesting bent and a most individual way of looking at the world.
Having survived the disappointment of several run-ins with Nashville, Nelson
surfaces strong and without compromise. His music is very much about the
pain of simply being alive, yet he injects a dose of humor into his view
of things. Lyrically, he shows a great deal of skill, and his wordplay flows
fluidly into his music. A wise old soul who has lived many lifetimes, Nelson
continues to forge ahead, charting new territory as a songwriter of distinction.
More ragged troubadour than stage-crashing pop-star, Beaver Nelson is an
original whose gruff façade becomes more and more attractive as the
moonlight fades and the music takes over." -- Jana Pendragon (Allmusic Guide)
The second Beaver Nelson show for this week - and I was impressed again.
The sound at the Copper Tank is much better than at the Hole In The Wall,
and the band seemed to enjoy playing a longer set. I'm looking forward to
hearing some of the new songs on CD...
Guy Forsyth @ Antone's
"This local grasshopper has been playing Sunday nights at Austin's Home of the Blues for so long, Clifford Antone lists him as a dependent on his tax form. Master of both marshall arts and Texas Troubadorisms, Forsyth also plays a mean National Steel blues, used to good effect on last year's memorable Can You Live Without and his outstanding film score to Buster Keaton's silent masterpiece, The General. Great smile, too." -- Raoul Hernandez (Austin Chronicle)
Guy played much longer than scheduled, so we ended up seeing a few of his songs. He comes highly recommended as one of Austin's best Blues acts, but what we saw was a guy posing in a white undershirt playing pretty average testerone-fueled Blues Rock. B.O.R.I.N.G.!!!
Matthew Ryan @ Antone's
"A guitar, a weathered voice, poetry pared to the bone - the element's
Matthew Ryan employs to craft his songs are deceptively simple. The music
he makes is exceptional. This is due to Ryan's talent of making us view
the world through his eye that poetically frames the beautiful with the ugly.
The result is moody and melodic square-deal rock that makes you think fondly
of the young Bruce Springsteen and Paul Westerberg, yet you understand that
you are hearing something highly original, personal, very specific. Songs
of an interior life intensely lived." (SXSW Band Info)
What's wrong here? A stunning debut that was largely overlooked. His new
CD is being held up in record company merger mania. And now this showcase
sandwiched between two stadium-rock acts. Two years ago Matthew Ryan played
to a small crowd that huddled together in front of the stage to escape the
cold night at Waterloo Brewing Company. This time he played to a small crowd
that had gathered close to the stage to get away from the majority of the
"Let's-have-another-beer-and-chat-while-we-wait-for-Vallejo-to rock-Audience".
But once again those who where willing to listen were rewarded with an astonishing
set. The most intense show of SXSW2000 marred only by the most annoying audience.
As he put it halfway through the set: "All these people talking is the reason
I hate rock and roll." He previewed quite a few new songs from his upcoming
CD "East Autumn Grin", currently scheduled for a June release. Can't wait!!!
Kris McKay @ Pecan St. Ale House
"Formerly local and always a favorite, Kris McKay packed up and moved
to Los Angeles. We don't see her around here as much as we'd like, but that
heavenly voice that can be low and smoky one instant and singing in the rafters
the next, is always welcome in Austin." -- Christopher Hess (Austin Chronicle)
Another show where the majority of the audience was boozin' and talking,
but not listening at all. Kris was pro enough to ignore them and just do
her thing. She played solo, and the showcase was much better than the one
with band she played two years ago. She is still an ace performer, but she
hasn’t gone anywhere artistically since she left Austin. The highlight of
her set was a surprising cover of "Bad Moon Rising" by CCR.
Jeff Black @ Copper Tank (Main Room)
"With the help of Wilco, Jeff Black put out a nifty Americana album
two years back called Birmingham Road. You probably never heard it, because
it came out as Arista Austin was being absorbed back into big brother. After
getting lost in the shuffle, the Missourian is now on World Roots Pop." --
Michael Bertin (Austin Chronicle)
Jeff Black and Matthew Ryan on one evening - what a night. The similarities
are striking: Both are extremely talented songwriters focusing on the darker
side of life. Both released their debut about three years ago. Both got
tangled up in music industry mergers. And both still make great music. After
being the highlight of last years' festival, Jeff's set didn't disappoint
my high expectations. A great band (including Will Kimbrough on guitar) and
good mix of old and new songs.
Missed:
Alejandro Escovedo Orchestra, Patti Smith, Jim Lauderdale, 50 Mission Crush,
Kim Richey (w/ Continental Drifters), Jess Klein, Kevn Kinney, Whiskeytown,
Roger McGuinn (w/ Jayhawks), Chuck Prophet, Tom Freund, The Brooders, Willard
Grant Conspiracy, Bonepony, Hadacol, Shelby Lynn, Pinehurst Kids, Peter
Case, 44 Long, Tawnya LoRae, The Silos, The Supersuckers, Alvin Youngblood
Hart, Reckless Kelly, Harmony Ridge Creek Dippers, Dave Alvin, Chuck E Weiss,
Duane Jarvis, Nash Kato, Elliott Smith, Stargazer Lily, Bottle Rockets, Ass
Ponys, Nashville Pussy, Fu Manchu, Giant Sand, Joe Ely, Nebula, Mary Lou
Lord, Shalini, Rev. Horton Heat
Show count: 44 ...