Tuesday, 16-March-994th annual "Swollen Circus" hosted by Michael Hall and Walter Salas-Humara @ Hole In The Wall
The Hole is the place to be on Tuesday before SXSW. Michael + Walter always manage to present an exciting line-up, and the place is usually packed by an eclectic mix of jet-lagged European + Japanese visitors, Austin scenesters, and the various participating bands trying to figure out just how to fit all their equipment on the tiny stage.
Spiglanin’s voice is clear and compelling throughout, recalling the clear, ringing tone of Mary Chapin Carpenter with a hint of Chrissie Hynde grit. (Oakland Tribune)
No, the Naked Barbies are not a metal or Post-Punk band. The Barbies come from the Bay area, where they have built a large fan base over the past few years. While their CDs ("Dancing With Vacuums", "Tarnished" and "Living Independently", their latest and best so far - check it out!) present mainly their Pop-sensitivity, they really crank up the volume and energylevel at their live shows. Clearly the first highlight of the evening.
Bill Lloyd is a power-pop enthusiast turned country songwriter/performer turned rock & roll performer, He earned his badge on Music Row by writing hits for others, but later as part of the duo Foster & Lloyd. After Foster & Lloyd split up in 1990, Lloyd moved on to a solo career with frequent stints as a sideman guitarist for Kim Richey, Marshall Crenshaw and Steve Earle. In 1994, he recorded his first proper solo album, Set to Pop. "Standing on the Shoulders of Giants" followed five years later. (John Bush, All-Music Guide)
His new CD on Koch Records features Marshall Crenshaw, Kim Richey, and Amy Rigby among others. Bill played solo, but managed to create an impressive "Wall of Sound" with his electric guitar, similar to Billy Bragg.
Jim Roll sings like the high-strung, smart mouthed bastard son of Neil Young, Captain Beefheart, Beck, Bob Dylan, Elvis, Lou Reed and a few other immensely talented musical lunatics. (Dave Marsh)
Jim Roll was backed by The Silos for a short, rocking set. Expect to hear more from this guy.
Gurf Morlix & The Patriots
Gurf has produced and played with many bands I like (including The Setters and Lucinda Williams), so it was good to see him with his own band. Walter Salas-Humara joined Gurf & The Patriots on drums. A good + solid (Blues-)Rock set.
After years of playing New York clubs, Bruce Henderson released "The Wheel Rolls" in 1997. Tonight he borrowed Michael Hall’s guitar for a short solo set. Hard to judge after three songs, but certainly not bad.
After spending time at the University of Texas journalism school and The Austin Chronicle in the late '70s, Texas modern rocker Michael Hall joined the Wild Seeds. The band released three albums: "Life Is Grand (Life in Soul City)" (1985), "Brave, Clean & Reverent" (1986) and "Mud, Lies & Shame" (1988). Wild Seeds broke up in 1989 after their label, Passport, filed bankruptcy; however, they had already gained a cult following around the country. In 1990, Hall issued his first solo album, "Quarter to Three". The LP included Walter Salas-Humara and J.D. Foster (Silos), Rich Brotherton and Rosie Flores. "Love and Murder" (1993), "Adequate Desire" (1994) and "Day" (1996) followed. -- (John Bush, All-Music Guide)
With the last Michael Hall CD now three years old, I was hoping to see Michael's name being listed for SXSW99 as a sign for an upcoming release. But disappointingly his name didn't appear. So I was delighted to see him take to the stage with his latest project, The Brooders, featuring his long-time guitarist Randy Franklin. The set showcased a solid set of new songs and was very well received by the capacitycrowd. Now I'm waiting even more anxiously for the next CD, which should be out sometime this year...
You never know who’ll be on stage with Walter, but you can be sure that it’ll be good show. This year the band played songs from their critically acclaimed CD "Heater".
The Willard Grant Conspiracy's "Flying Low" is an unexpected and surprising treat that melds American roots-rock with a dark, haunting atmosphere straight out of American Music Club. The Willard Grant Conspiracy is more of a collective than a proper band. The entire album grew out of regular jam sessions, and the recordings boasted a revolving cast of musicians -- even the most prominent members of the band don't know who played what on every track. That ambiguity works in the album's favor, since the music offers unpredictable variations on a couple of themes. With his deep vocals, Robert Fisher keeps things centered -- matched with the spooky yet spare music, his melodies and lyrics get under the skin. At times, Flying Low is a little precious, but that only adds to its darkly attractive ambience. -- (Thom Owens, All-Music Guide)
Three Willard Grants made it to Austin this year, and Walter and Drew from The Silos helped out. It was at the same event last year that I first saw this band. I was hooked instantly.
You may know Deanna from her work with Lambchop, where she plays saxophone and sings. Tonight she brought her guitar, and Walter and Drew sat in on a few songs.
The feel of [Tom Freund's debut CD "North American Long Weekend"] is steeped in Americana, with references to and influences by Holden Caufield, Jack Kerouac, and Bob Dylan. Some of Freund's vocals -- and in fact the general musical approach on the album -- is reminiscent of early Tom Waits. There are some excellent guest musical appearances on the record, most notably by jazz great Jimmy Smith on organ. Freund's early background includes stints with The Silos, as well as an excellent duet album with Ben Harper called Pleasure and. North American Long Weekend has indeed had a long gestation period, but it was well worth it. Freund's songs speak of searching for understanding and meaning in life, but they never sink into heavy-handed moralizing. The sound of the record is quite amazing to behold, and thanks to producer Margin Etzioni and engineer David Vaught, you have one of the best-sounding roots-oriented releases of this decade. The material is what really matters here, and what you will hear is first-rate. -- (Matthew Greenwald, All-Music Guide)
Tom ended up being the "headliner" for this evening. Being the last band means getting on stage shortly before 2am and being interrupted by bar staff switching on the house lights and yelling at the audience to get out. Changing drummers for almost every song (Dave McNair, Kim of Morningwood and Walter Salas-Humara), Tom delivered a solid set until somebody switched off the PA.
Show count: 13 ...