Fine Line: 'Reviews' Section

I Love Math’s highly anticipated album, Getting to the Point is Beside It, sits all hot’n'bothered’n'ready for your insatiable CD player. Tonight, please join me in celebration by settin’ up over at Barley House for a good ol’ fashioned listenin’-to partay.

Out of town? Too lazy to make the drive? That’s kinda okay cuz we’ll be streaming the whole shindig live here at The Fine Line. Expect the cameras to roll ’bout 7 pm. The chat room will be up and running too, in case youse got questions for the band or somethin’.

Getting To The Point Is Beside It
We all get tired and we all get weary. Sometimes what we need is something true-a good, honest document stripped of all falsehoods and petty trickery. I Love Math’s new album, Getting to the Point Is Beside It is one such thing.

“It’s amazing what kind of magic some people can make with only the most basic of ingredients,” says Mundane Sounds about front-man/guitarist John Dufilho’s songwriting.

Dufilho (also the front-man for the Deathray Davies and drummer of Apples in Stereo), says “Mostly, I wanted to write and record a very straightforward album. I wanted it simple, to the point, and didn’t want to hide behind effects pedals, distortion, studio tricks, or irony.”

Drummer Philip Peeples agrees, saying, “On this record, I really enjoyed keeping it simple, playing into the songs, not simply through them. Also, John and Jason are amazing drummers, something that’s never far from my mind.” Accordingly, the band’s unwritten rule of “keep it sparse” makes perfect sense alongside another I Love Math mantra: “no cymbals allowed.” Simplicity over all.

On the 12 song Getting to the Point, pedal steel soars out over guitars you’d expect from the best of old school country. But this is no retro trip; songs like “Josephine Street,” “Some Bridges,” and “Too Many Demons” wouldn’t be out of place on a mix-tape with contemporaries like Jon Brion, Belle & Sebastian, Jonathan Richman, and Yo La Tengo (Fakebook-era) as it would with vintage Kinks, and like-minded harmonizers Simon and Garfunkel and the Everly Brothers.

As The Deathray Davies continues to move forward, I Love Math comes on as its own animal. This is no side-project; Dufilho writes endlessly, so pulling off two full-time bands is almost second nature. Recorded with Salim Nourallah at Pleasantry Lane Studio,.Dufilho and his Dallas-based band-mates, bassist Jason Garner (The Deathray Davies, The Paper Chase), drummer Philip Peeples (Old 97’s), and keyboardist Andy Lester (The Deathray Davies, Slider Pines), have given us an organic yet cinematic piece of music. Songs like “These Paper Walls,” “Volcanic Ash,” and “Better Days” come off like a soundtrack to a great movie that was never made.

On Getting to the Point, I Love Math deliver something modern yet classic. Welcome this record into your life. Your soundtrack has never been better.

“Josephine Street”

Last night at The Granada was…how you say…off the freakin’ hook!

Matt Butcher opened the show to a PACKED and I mean PACKED house. I’ve never been more proud of Dallas than I was last night. Hundreds of fans showed up for Matt and The Avett Brothers and hundreds of fans remained respectful and attentive towards the performances throughout the entire evening.

I’ve got tons of video that I’m in the process of editing and will stick up here later. I’ve got gajillions of photos too.

I think I’m still a little high….or still real swoony after conversing with Scott Avett…hot-dang!

Above is the encore - taken from the live video stream…

If you haven’t experienced a show at Mokah Live or Life in Deep Ellum, then you are truly missing out. Mokah is a coffee-bar in one room and a splendid, comfortable, inviting listening room in the adjoining room. Big comfy sofas, vintage tables & booths…it’s wonderful.

Just down the hallway, through the art gallery, there’s a monster of a room, fit with an excellent sound system, a light show extraordinare, a fog machine, and enough space to fit a gajillion fans.

The good folks at LiDE/M2S2 brought us an idea to host a regular music summit/showcase, in hopes of bringing together our music community (club owners, label reps, bands, artists, fans, media, etc.) to discuss and do something about boosting interest in the music and art community. Sunday, April 20th was a nice start.

The crowds weren’t nearly what we had hoped for, but that’s okay. The fans who did venture out were surprised and supportive and all walked away impressed with the venue…and of course….the performances.

The evening kicked-off with Dave Little introducing Flat People. ‘Twas my first time to hear the band live and I loved them just as much as I do on disc. From there on out, the LiDE stage saw a steady stream of our most talented talent, each and every band superb. *Flat People / Airline / Jayson Bales Band / Miles from Nowhere / Salim Nourallah & the Noise / The Slack / Smile Smile / Bridges & Blinking Lights* Dave Little, for the most part, did my job that day and had me in full guffaw throughout.

Mokah was home to acoustic acts and open mic’ers, including a fantastic newish band, Something in the Wheel, who you’ll be hearing more about here a li’l later.

Of course I was knee-deep in technical glitches. Stupid Ustream. I can’t find my good mic, so the sound kinda sucks. I lost the tape of the entire first part of the performances. You know. The usual.

However, all in all, it was a great event, and hopefully, there will be more to come. Check for Pete Freedman’s take in tomorrow’s Dallas Observer.

A few more performance videos coming soon….

Good Records birthday bash was freakin’ sweller than the usual swell….

In case you ain’t done noticed, I’ve got a couple of contributors to this joint. One kid, Jeff Mues is a music lover and likes to go to shows and likes to write about ‘em afterwards and I’m glad to have him around…

“Crystal Beach Memories” by Hayes Carll

Hayes Carll and Three Guys from Jersey, a Weekend Music Review

Yesterday, April 14 was my father’s birthday. So of course, I spent some time agonizing over what to buy the man. Nose hair-trimmers? Framed photo of me for his office? A week on a Caribbean beach-front resort? Ultimately, I realized that trimmers could be considered an insult to personal hygiene, a photo of me could scare his clients, and a week’s vacation … yeah right, dream on Dad. But there had to be something I could get him that didn’t scream “hey you have a forest growing out of your nose,” right?

Of course there was. Music. My dad introduced me to the likes of Jim Croce, John Prine, Harry Chapin, Jackson Browne via his record collection. Returning the favor, I had started introducing my pops to some songwriters in recent years that have now become favorites of his… Stayton Bonner, James McMurtry, Paul Thorn among them.

So I decided on his birthday this year, I would send him Hayes Carll’s new record, Trouble in Mind, which I had decided to pick up at Bill’s Records during the CD release / in-store shindig, that took place last Friday. I’d heard some of the tracks already and loving what I’d heard, I was anxious to hear them live so I was resolved to fight the traffic from the Park Cities down to Southside Lamar for dad’s gift.

I probably missed a couple of songs due to the fact that I topped out at 6 mph on the freeway. But I got there in time for a fantastic tune inspired by the town of Conway, Arkansas, called “Faulkner Street”, followed by “I got a gig” a bluesy song that Carll attributes to days spent chasing down gigs in the gulf-coast town of Crystal Beach. Hayes rounded out the set with a couple of ready-for-the-weekend-boozing tunes in “Drunken Poet’s Dream” and “Wild as a Turkey,” two stand out tracks that sounded fabulous live.

Those 4 songs, not more than 20 minutes worth of music, were honestly some of the best new live music I’d heard in a long while. I picked up two copies of the record, got them signed, and found the CD came with a copy of Hayes Carll, In The Search for Ooga Kabooga Juice, a zany limited edition book with zanier comic-book art. So Dad gets one of those as well. Lucky man he is … should make him forget all about that trip he didn’t get to St. Barth’s.

So at 6:40 Friday evening, I’d been off work less than an hour and had accomplished a lot. If I hadn’t seen any more music the rest of the weekend, I’d have been a happy camper but to my surprise, I’d found my fiancé had won a gold parking pass at work for the Bruce Springsteen show at the AAC. Mind you, I didn’t have tickets but we figured we couldn’t let that primo parking pass go to waste. And when I see primo, I mean you actually park under the AAC center – like where the millionaires park.

So I did what any reasonable man would do and checked Craigslist and eBay and found the marketplace was flooded with tickets so I got two tickets on eBay for $49.95, a good $120 under face value. Problem solved. When Ashley decided she wasn’t up for it come Sunday, I considered not going momentarily but then I remembered it was the eve of my father’s birthday … 2 things about my pops I should mention 1) he’s from New Jersey where Springsteen is the officially endorsed religion and 2) he loves live music and of course, Bruce. So I had to go to the show for him.

A little wheeling and dealing later, and I’d sold a ticket for $40 to a guy walking his dog outside the AAC center, putting my cost at $10. Let’s just say I got my money’s worth. 2.5 hours worth. Who cares that my seats were no good? I didn’t bother to check them out as I had my sights on some prime vacant real estate in the lower bowl.

The Boss was so good that I didn’t even mind when Bon Jovi appeared out of thin air to share vocal duties on “Glory Days.” While I’m generally anti-anything Bon Jovi, even arena-league football, anyone from New Jersey got a pass that day. Again, for my pops. I hope he enjoys his CD and gets a chance to see Hayes Carll before he’s on the arenas-named-after-airlines tour circuit and people are calling him “the boss.” It shouldn’t be too long now.

Springsteen AAC 4/13/08 Setlist:

Tenth Avenue Freeze-out / Radio Nowhere / Lonesome Day / Gypsy Biker / Magic / Trapped / Reason to Believe / Prove It All Night / Because the Night / She’s the One / Livin’ in the Future / The Promised Land /Girls in Their Summer Clothes / Independence Day / Devil’s Arcade / The Rising / Last to Die / Long Walk Home / Badlands

Encore:
Meeting Across the River / Jungleland / Born to Run / Glory Days / Dancing in the Dark / American Land

I must live in an entirely different world than other music-types in this town….

…Then we [Denton musicians and Pete Freedman] got to talking. Turns out the crowd had their motives too. Specifically, they wanted to know why I was even bothering to inquire about them—seems no one from the Dallas Observer really had in a while. Given that their town’s less than an hour’s drive north of Dallas, given that it’s the home of the storied University of North Texas jazz program and given that it’s been cranking out an incredible slew of noteworthy acts of late—Midlake, Ghosthustler and Doug Burr to name a few—they didn’t understand why they weren’t getting any love from Dallas’ print media…’sallhere.

…um…

…huh?

I recall reading about Doug Burr, Midlake, Ghosthustler, The Undoing of David Wright, MOM, Baptist Generals, Record Hop, Fishboy, Slobberbone, Little Jack Melody, Silk Stocking, Warren Jackson Hearne, Spitfire Tumbleweeds, Brave Combo, Centro-matic, Little Grizzly, etc., etc., etc. in the Dallas Observer over the years. Hell, I think I ran into Sam Machkovech at Denton shows way more often than Dallas shows. Not that it matters, cuz I’m a huge supporter (and lover) of the Denton music community, I just think it’s interesting to hear other people’s take on things.

So the D.O. is goin’ all Denton on us, and the even better news is that they’ve tagged the great Dave Sims to rule the written roost…

…In other album-related news, it turns out Bella Union labelmates Eric Pulido (of Midlake) and Robert Gomez are starting a new record label: Nova Posta. It already has a record scheduled to come out late this summer, Matthew and the Arrogant Sea’s debut full-length, Family Family and the Magic Christian. The two also have plans for an anthology of Denton music in the mold of Quality Park Record’s 2000 compilation Band-kits. Pulido and Gomez have high hopes for the label, which will work with Georgia-based Team Clermont (Flaming Lips, Death Cab, White Stripes) for public relations, and North Carolina-based Redeye (Bjork, Widespread Panic, Liam Finn) for distribution…Do Dave.

In case you don’t know it, Dave has been contributing to Paste Magazine (among other places) and was a HUGE part of my life during his time on stage alongside Doug Burr, as one of The Lonelies. David Sims is good folk, so welcome him.

Speaking of great Denton-based bands, Merritt Martin writes about *gasp* Record Hop…

…Record Hop is a flat-out success. With it, Record Hop has taken indie rock through a gauntlet of metal, hair and primal urge—and then left it to vent its anger and lust in your CD player….

Yeah! What she said. Read it.

“American Weed” by Record Hop

“Niggy Tardust” Saul Williams Live at the Loft in Atlanta - 4/6/08

My Saul Williams ticket winner was kind enough to write up a review of the show. Dayum…he makin’ my writin’ skillz look all whack…but I thank him for classin’ up this joint…Show date: 3/31/08

“Saul Williams, despite being more of a straight-up poet than an MC, is one of those rare artists who justifies the notion of a hip-hop/rock interchange in a post-nu-metal world.” That quote taken from a recent pitchfork review of Saul Williams’ The Inevitable Rise and Fall of NiggyTardust is interesting when you consider the influence Nine Inch Nails frontman Trent Reznor has had on Williams’ career.

As I scanned the crowd last Monday at the Palladium Loft, my eyes fell on plenty of NIN/Reznor devotees clad in black, scattered among the diverse crowd. Seen and overheard were “hippie types” asking about Saul Williams’ poetry at the merch table, college students sucking down $1.50 drafts, and hip hop heads bobbing their heads throughout. I can’t say the diversity shocked me but I was definitely taken aback by the support extended from the NIN faithful who had come out in droves to support Williams.

Revisiting that Pitchfork quote, it is indeed ironic that Reznor has taken Williams under his wing… taking him on multiple tours, producing the NiggyTardust record, even influencing Williams’ vocal stylings. Afterall, Reznor was once upon a time quite outspoken against the evil influx of rap/rockers, even suggesting to Rolling Stone that then label-mate and Limp Bizkit frontman, Fred Durst could “surf a piece of plywood up [Reznor’s] ass” (October 1999). To say that Saul Williams justifies a “hip/hop interchange” in a word post Limp Bizkit then just goes to show how things have come full circle for Reznor, embracing an artist like Williams. Then again, Saul’s left pinky toenail has more talent than Durst.

The point is that pigeonholing a Saul Williams show as a hip-hop/ rock interchange couldn’t be any further from reality. While there were songs in Williams’ set bordering on rap and songs that definitely showcased the rock, those two components of were merely the tip of the iceberg. Spoken word and poetry, insightful political commentary, an array of bleeps and bloops from CX Kidtronic, explosive psychedelic sounds from evening openers, Dragons of Zynth, and a fabulous Saul Williams cover of U2’s “Sunday Bloody Sunday” … it was a show that literally had it all.

And visually, it didn’t disappoint earlier. Trying to discern exactly what Williams’ Bowie-inspired Niggy Tardust alter ego signified kept my wheels turning on those rare occasions my mind wandered from the music. While Bowie’s legendary Ziggy Stardust creation was completely androgynous, Tardust was something primal and fierce, like an over-the-top wrestler created by the old World Wrestling Federation – like a cross between Booker T and the Ultimate Warrior. How’s that for missing the point, completely?

To wrap things up, my recommendation would be to download the album via saulwilliams.com for a measly $5 if you haven’t already. Or better yet, check out a live show if the opportunity presents itself. And a final word about the opener Dragons of Zynth… definitely check them out if you have a soft spot for psychedelic music. What struck me was the energy of the band and their ability to hit on a dark, droning heavy psychedelic sound while simultaneously keeping things light, frantic, and party-ready. If Mother’s Milk era Red Hot Chili Peppers met the 13th Floor Elevators in some kind of time warp, I imagine their sound could result.

I was experimenting with a different camera and I finally decided to try my hand at the iMovie on my barely touched Mac, so here ya go. It’s amateur, slightly annoying, but everything (plus some) that I still remember from Friday night.

I love these people with all my heart. Oh, and one little piece of advice? NEVER miss MOM live. It’s something beyond words, but their live performances can cleanse the soul, lift the heart, and leave one feeling blissful…sort of like you’ll feel inside Space…

Hunter Hauk did a li’l Q&A with Denton-darlings, Ghosthustler in this week’s Quick…

Last year, Denton electro-dance group Ghosthustler got mentions in Spin, on Pitchfork and on countless national blogs mere months after forming, mainly because of “Parking Lot Nights.”

The Pete Ohs-directed video for the song achieved viral status with its footage of a Nintendo Power Glove rhythmically punching random hipsters in the face. Clearly, Ghosthustler got off to a good start.

And while members Alan Palomo, Gray Gideon and Noah Jackson still have no immediate plans for a full-length album, they’ve kept fans and bloggers interested with live shows and single releases.

The trio’s newest songs, “Someone Else’s Ride” and “Only Me to Trust,” are on Ghosthustler’s first physical release, a limited 10-inch record released at last month’s South by Southwest.

The guys told us in a recent chat that they plan to put out more new tracks and remixes soon, and also will start thinking about tours in the U.S. and Europe. Here’s more….Read Dammit!

I was lucky enough to catch Ghosthustler live at Strawberry Fields a few weeks back and was hooked immediately. Infectious energy and brilliant tuneage…that’s it in a nutshell.

You can getcher Ghosthustler on tomorrow night, Friday, April 4th at The Cavern in Dallas.

Lovie Luvin’ here on the Gordon Keith Show.

Hunter Hauk’s Liner Notes tells the tale of Smile Smile, Dave Alor, Frank Campagna, & stuff to to this weekend. Click.

“Sad Song” by Smile Smile

Yeah, so I’m a li’l late on the take (what else is new), but Skin found greatness in P.P.T.’s Denglish too..

…We feature the PPT folks in this paper a lot. But the reason is that Team SS is genuinely enamored with Picnic, Pikahsso and Tahiti’s talent and potential to create great stuff no matter what they’re doing. The fact that we like these dudes has nothing to do with the fact that they have crafted a classic.

Denglish sounds like very little else that has come from our fine city, yet it is a distinctively Dallas record. If it gets heard outside our region, it’ll get jocked all across the board…Read it all.

More creamy goodness is just a click away…

Go vote!

I dunno how long it’s been here, but the boy-child decided to up and clean his room yesterday, which produced a package addressed to me from Glurp Records. Took me about 2 seconds to remove the contents and place it into my ‘puter’s CD thing-a-ma-jiggy. Oh joy. Sweet sweet joy. ‘Twas the, not-yet-released, newborn, Getting to the Point is Beside It from I Love Math…

Dufilho (also the front-man for the Deathray Davies and drummer for The Apples in Stereo), says “Mostly, I wanted to write and record a very straightforward album. I wanted it simple, to the point, and didn’t want to hide behind effects, pedals, distortion, studio tricks or irony.

Drummer Philip Peeples agrees, saying, “On this record, I really enjoyed keeping it simple, playing into the songs, not through them. Also, John and Jason are amazing drummers, something that’s never far from my mind.”

This divine new album was recorded at Pleasantry Lane Studio (you should go take a look at the pics of this kick-ASS studio) and will become available in May, 2008. Meantime…I’ll let the music do the talkin’…PS - I was fiddlin’ with the sound in the beginning and my dog, Speck, decided to go on a barking rampage a bit into this quick listen…

Here’s a clever little video for the track, “Josephine Street” by I Love Math…look for Getting to the Point is Beside It to hit stores in May 2008.

Me brother from another mother has been bizzy, bizzy, bizzy, what with his crazy SXSW shenanigans, to his towed-off night with Lesley Tellez. So it’s a wonder that he found time to top off his weekly Liner Notes…

•Denton band Record Hop (who appeared on Quick’s cover a couple of days ago) will make copies of its new self-titled CD available next Thursday at its CD release show at Dan’s SilverLeaf in Denton. But those of us who saw the band’s official showcase at South by Southwest were lucky enough to grab a free copy, hot off the press. Check out the insane artwork by Nevada Hill, with individual lyric sheets inside that feature photos by Hop drummer Tony Wann. This is why you shouldn’t download albums…read the rest.

In case you forgotteded, Hunter also had a sweet interview with Record Hop and you should read it, lest your pals’ll think you all lame and sh*t.

‘Memember when I said Lesley towed-off Hunter? Go here for the splendid details.

Check out the interview with the always delightful Laura Palmer too.

The Battle of the Bands has reached the final stage…and you’ll need to go here this afternoon to place your vote for your pick for the victor.

Finally, be sure and check Movie Time with Pikahsso and Tahiti…this week it’s Horton Hears a Who…and there’s a quick plug for Denglish too.

Hey man, if Pikahsso and Tahiti get some face time, then shouldn’t Picnic too? The answer is hell to the yeah!

Picnic and Richmond on Denglish

Well it’s over. SXSW 2008 has come to an end, and a durn fine end indeed. I would have to say that I was probably the least hippest attendee. I never went to 6th Street. I only saw 1 electronica band, and it was quite by accident. I only went to 2 venues. I left a day early. I never got to say hi to Patrick. I only got 2 drunk text messages from Hunter.

For you see, when one goes off and sets up a bunch of equipment for live webcasting, one is, basically, stuck. However, the bands I did see were superb, the venues fab, the folks I ran into splendid.

In the crowd:
Jovita’s for Twangfest - nobody I really knew outside of the bands.

Maria’s for the Sin City Party - Jimmy Baldwin, Mike Snider, Patrick Nichols and family, Taylor Davis, some guy who wasn’t Jim Heath, Erik Blumenfeld

I ate nothing but unhealthy, fattening food. I drank my father’s weight in margaritas, but never got drunk.

One thing is for certain, though, and you can mark my words…I will reside in (or just outside) Austin by 2010. Everyone and their dang ol’ dog has up and moved to Austin. Jed Peters is living with Shilah Morrow in Austin. Collin Herring moved to Austin. Steve Collins, Todd Pertll, Micah P. Hinson…Austin, Austin, Austin. I love it there.

“Sea Man”

I’ve been listening to the new Rodney Parker & 50 Peso Reward album, The Lonesome Dirge, pretty much all the time since it hit the ol’ FineLineLive mailbox. I dig it. I dig it real-good-like. I’ll chat more ’bout this new gem a li’l later. The reason I bring up Rodney Parker & 50 Peso Reward, is cuz Brooks Kendall is one of the Pesos — and Brooks’ brother is (another FineLineFave) Joey Kendall. I love them Kendall boys.

So I thunk to meself, “meself,” I thunk, “me wonders whaddup wit’ Joey.” Thankfully after a visit to his MySpace page, I was reminded of his tremendously exciting sorta-semi-newish project, Mount Righteous. WhollyCrappeollee-o! This band is like the band of my dreams, complete with a bass drum.

Mount Righteous is a wicked-awesome band, made up of like a gazillion talented musicians, who perform everything sans electricity. You gotcher bass drum and tuba and trombone and accordion and guitars and bells and blowers and movers and shakers and and and….it’s freakin’ divine.

Speaking of divine, as it turns out, Mount Righteous is recording with legendary John Congleton. I. Cannot. Wait. For. This. Album.

“YOU CAN’T ROLLER SKATE IN A BUFFALO HERD”

Upcoming Extravaganzas:

March 21st - 1919 Hemphill
March 28th - Granada Theater (Rodney Parker & 60 Peso Reward Record Release party with Oso Closo) - I’ll so be here.

Hunter Hauk sums up my feelings for Denton in his weekend rehash…

…So, I didn’t make it back to East Dallas until 3 a.m. But after a night like last night, I want to go back to Little D ASAP. The vibe everywhere I went was similar to last weekend’s Melodica fest — packed rooms, good conversation and even better music.

I could not agree more. I’ve yet to have had a bad time in Denton. In fact, I’d go so far as to say that most of my best times have been in Little D. I spoke with Sarah Jaffe on Saturday night, which is when she told me she had recently moved from Dallas to Denton and was loving it. Denton is like…like…Austin wishes it was…know what I mean?

The Strawberry Fields proprietors were absolutely charmingly welcome and enthusiastic. I really enjoyed meeting and spending time with Brendon and Chad. If you haven’t graced their lil shop, then jot it down in your Day-timer to do so soon. They stock an interesting, eclectic mix of B-movies, cassette tapes and lots and lots of local (Denton, baby!) music to choose from, at ridiculously low prices.

With the exception of about 3 or 4 acts, Saturday evening (into Sunday morning) was an electronica-lovers paradise. It was a hypnotically mesmerizing evening and I loved every moment of it.

I’m really having fun with the live video feed thang. The stream offers-up a chat room, and it was full as a tick on Saturday night. At times, it was a tough crowd, critiquing each act with brutally honest thoughts. Regardless, it was really fun interacting with fans from all around the country. I think this live video streaming at shows shall be my new “thing” from here on out. It’s fun, and I can record the feed without sweating over hours of editing.

You’ll most likely see my ass in Denton a helluva lot more. It’s a rare (if ever) night that there’s not a decent show somewhere in that town…and the whole Denton experience is just so stress-free and fun-fun.

I got a few decent pics from Saturday night:

My mailbox has had a good couple of weeks. I’ve opened’er up wide to find two incredibly splendid CDs. Both, perfect for road-trips to…oh…say…Austin and back…or anywhere else in the country for that matter. One of which I’ll tell ya about later, and one of which I’ll gush over now.

One of my favorite sites, and most definitely a daily read, is my friend Patrick’s fantastic site, This is Texas Music. I’ve had the good fortune to hang with Patrick on many an occasion, and I’ve come to think of him as a friend, as well as a great writer and lover of good music.

Over the years, Patrick has introduced me to some fantastic bands (White Ghost Shivers, Graham Weber, Black Water Gospel/The Century…just to name a few), including one Mr. Austin Collins. And it’s Austin Collins who just dropped a brand new beauty this week, Roses are Black.

If there is any one genre that makes this ol’ gal feel happy, excited and at home, it’s that little place in-between the Rootsy, Folksy, Americana, Alt.Country genres. It’s a combination of all, with a dash of rock thrown in here and there. That’s Austin Collins.

Roses are Black brings to mind such influences as Son Volt and Whiskeytown, with some slight hints of Centro-matic. No surprise on the last one, since Will Johnson produced the album, as well as performed on it. Aside from rock star band members, Dylan McDougall, Craig Bagby and Troy Wilson - Collins brought in the big guns for additional support on the album, like Scott Melott (Dead End Angels, The Groobees), Eleanor Whitmore (Slaid Cleaves, Bruce Robison, Susan Gibson, Lloyd Maines, Terri Hendrix), Will Johnson (Centro-matic, South San Gabriel), and the impossibly talented Todd Pertll (Doug Burr, Deadman, Kristy Kruger, The Monahans, Cowboys & Indians, Thrift Store Cowboys…oh hell, I could go on for days), all of whom helped round out a gritty, thoughtful, instrumentally driven album, chock full of thought-provoking lyrics and pleasing melodies.

I ain’t no critic. I ain’t no writer. But I can tell you this, if you be a fan of the Son Volts or the Macon Greysons, or pretty much all of his label-mates on Fat Caddy Records,, then you will be a fan of Roses are Black. I know this CD ain’t a’gonna leave my CD changer anytime soon.

Go see the boys live tonight!

Friday, February 29th
Woody’s Tavern
10 PM

“Roses are Black” by Austin Collins

First thing I read this morning, after my second Sugar-Free Red Bull, was this week’s Dallas Observer Music section. To be precise, Pete Freedman’s article on last weekend’s Melodica Fest…*nervous laughter ensued*…

I’ve written, re-written and re-written again, my thoughts on both sides of his article. Frankly, I wasn’t there for any of it, rather I was at parent’s weekend in Austin with the girl-child. I don’t know Wanz Dover, nor who is behind the anonymous WeShotJR, both of whom were involved in bringing Melodica to fruition. However, I think, across the board, that everyone (including Pete) is in agreement that the Melodica lineup, and the idea as a whole, was interesting, exciting and quite excellent.

The commenters are crawling out of every nook and cranny…

“Good job on failing to report about the MUSIC at a MUSIC festival. Not one mention on any bands that played melodica. Oh well another opportunity the observer squandered.”

“what a wasted opportunity for the dallas observer you could have turned the tide by actually writing about local music”

“Go fuck yourself dude.”

I’d also like to add that the Dallas Observer, Pete Freedman, Rich Lopez, Chelsea Ide and the rest done covered and promoted and blogged and interviewed and reminded everyone throughout the days and weeks leading up to Melodica, ad nauseum. They also did the same throughout the festival, as well as after the whole shebang was over and done with.

Just about every musical extravaganza that’s gone on here in our fair city got/gets its fair share of praise and/or bashing. Some of the bashing coming straight from the mouths (or fingers) of the same folks bashing Pete’s article. Take it and dish it out? Guess not.

I’m not really sayin’, one way or another. Like I said, I wasn’t even in town for it and I have no personal attachment to the players. I’ve been doing this music thang for nearly 8 years, blogging for nearly 6 of those years. In some ways, I’ve seen and read it all. In case you haven’t noticed already, the Observer has it’s way of doing things, take it or leave it. But ferchrissakes, quit acting so surprised.

You can get WeShotJR’s take on Pete’s article here.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Photo by Allison V. Smith

That over-paid-professional-journalist (heh - private joke), Darryl Smyers got to do the sit-n-chat with the great Todd Gautreau, the brilliance behind Crushed Stars…

Gossamer Days, though, features a rather prominent cast of locals, including Pleasant Grove’s Jeff Ryan, Taylor Reed from Cordelane and a trumpet player Gautreau claims to have found on Craigslist.

“I’m not even sure I spelled his name right on the insert,” Gautreau says, laughing.

It was with Ryan, however, that Gautreau found more than a session player. Playing drums, bells and keyboards, Ryan helped bring focus to Gautreau’s shapeless muse, adding definition to help rein in the frontman’s tendency to ramble.

“With Jeff, it was the first time I worked with someone who really contributed creatively,” Gautreau says. “It wasn’t just another guy playing the parts that I showed him.”

Much of the new effort was mastered by Stuart Saikes (Sikes) (who has worked with the likes of Cat Power, The White Stripes and Modest Mouse). That pairing further increased the shared process that has historically not been part of Gautreau’s modus operandi. Reflecting like-minded influences such as The Clientele and Red House Painters, Crushed Stars exists primarily as a studio creation that, much to Gautreau’s irritation, must occasionally perform in clubs…Read it all.

You can listen to a track from Gossamer Days, (”Spies”), on Todd’s MySpace page. Or better yet, go getcher own damn copy of the album. Or better still, go to that damn Double Wide so you can catch those damn Crushed Stars live on Saturday, March 1st, along with that damn Pleasant Grove and that damn Stumptone. Damn good!

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Daaaaayuuuum…oh come on, you knew I’d say it.

That Darryl Smyers also reminds us of a durn fine show a’comin’ to Bend Studio tomorrow night, Friday, February 29th…

…It’s one thing to claim soul as an influence and quite another to actually put the classic authority of Al Green and Sly Stone to proper use. Dan Dyer sings with an instinctive urgency that incorporates elements of country, blues and soul, tying things together with what’s universal in the best of each genre: intensity.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Further proof that I need to get out more. Why the hell can’t I end up at shows as splendidly dramatic as this one Jesse Hughey witnessed…

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

There’s more. All you gotta do is click.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

I did the all-day live video streaming at Jay Johnson headquarters on Saturday, arriving at 10:30 AM, departing around 10 PM. ‘Twas a delightful day chock full of music, new pals and pounding Sangria and Tequila ’til closing time. Sunday was a wash.

So it’s always nice to know that, even though I continue to age, therefore finding it increasingly more difficult to attend more than one show per weekend, my young buddies over at Quick and the D.O. will go…and tell.

Hunter went to the Bridges & Blinking Lights show, as well as the pAper chAse show. He’s such a good boy.

Jamie Dougher went to Gezellig.

In other Quick news, Wanz made the cover of today’s issue. If you lurk ’round the local music blogs/sites, then prepare to read lots and lots of gush over this coming weekend’s Melodica Festival. Wanz Dover has outdone himself, with a lil’ help from his friends.

In every corner of Mwanza Dover’s Lakewood apartment, there’s a reminder of how much he loves music. Shelves are stacked with vinyl albums, guitars and amp cables litter the floor, and Dover sits at a sort-of command center with a laptop displaying iTunes at the ready.

And there’s a lot more music in his head. Chatting with the 34-year-old, you come to realize that he’s a human encyclopedia of music history – local and otherwise.

“A music snob is someone who knows all the stuff and keeps it to himself,” Dover says.

“A music fan is someone who knows the stuff and tries to share it with as many people as possible. I’m a music fan.”

Dover demonstrated his fandom and imparted some knowledge during a two-hour conversation about this weekend’s Melodica ‘08. It’s a festival he’s reviving, after a seven-year absence, to showcase local and international underground music.

Dozens of acts, including headliners Light Bright Highway, Spectrum and Silver Apples, will perform over three days in Expo Park venues. Several of those will play all-ages shows at Sloppyworld and Club Dada.

“I put together the all-ages portion of it so people under 21 could see some really cool bands. Promoters are thinking about money first. With this, we are thinking about the music and the audience.”

Here’s more from Dover…Read the rest of the Q&A with Hunter Hauk.

Check out the first preview post too.

I’m sure you kiddies will delight in knowing that the Quick Battle of the Bands is back in action. They even have like a dedicated area that’s all cool and full of information.

+++++++++++++++++++++++++++++

The young’un’s over at the Dallas Observer made the rounds this past weekend as well. Chelsea did the Museum and the Sons.

Newbie Pete Freedman had ambitious plans….I’ll betcha he kept most of them too.

UPDATE: Pete did indeed have himself a time.

Quick is just chock full of music news…Hunter Hauk’s Liner Notes include:

Idol Records news about the wicked awesome Chomsky reunion on Saturday night at The Double Wide. - Read.

The North Texas Battle of the Bands competition. Read.

Stupid, manipulative, makes-a-gal-feel-sorry-for-herself Day…Read.

TONIGHT: It’s Valentine’s Day, which I like to spend on my kitchen floor with pints of ice cream and beer. But feel free to try to keep your No. 1 gal from flirting with Chris Holt when The Slack plays City Tavern, or you can romance her to the groovy instrumentals of Shibboleth at Dada.

…speakin’ of Dada, they are making it easy to get your drunk on earlier. Read.

Hunter also graciously mentioned a lil’ project I got in da’ works on Saturday. I’ll let him tease it, and I’ll fill you in on the rest a lil’ later. Read.

The New Frontiers are featured with a nice Q&A. Read.

Never forget Nightlife (the music blog) and the Boogie Spot.

Scooch over Hunter and gimme a spoon…sigh..

So have you heard? There’s a new kid in town. Me thinks, even this early, that I’m gonna get along with this kid…real…good-like…

…Which brings us (oh yeah…) to the music itself. Some of the live performers I caught in my Dallas early-goings were really fucking good: indie rockers Ella Minnow, grindcore duo the Akkolytes, Centro-matic frontman Will Johnson, Pleasant Grove frontman Marcus Striplin and the guys who spin at The Cavern’s Cool Out Mondays. Some were really fucking weird: Loop 12 and The Great Tyrant, upon first sight/listen weren’t the surefire hits I was promised. And some were really fucking sleep-inducing (really!): Victory March’s instrumental rock sound wasn’t exciting enough to keep a member of Here in Arms from falling asleep on a couch in the back of The Cavern when the two acts shared a bill there.

So what does this all mean? Hell if I know. But I’m pretty stoked to continue trying to finding outREAD!

You couldn’t pay me enough to be in Pete Freedman’s shoes. Well, you could pay me enough to, literally, wear his shoes, but we are not talking literally. The past few years have seen many a Dallas Observer music editor come and go. Some by choice. Some, not so much. If you want to get a healthy, steamy, passionate debate going—head down to Deep Ellum and bring up the subject of the “local music scene.” So it’s an interesting position Pete has for himself, both literally and figuratively. Meet the new Music Editor for the Dallas Observer…Mr. Pete Freedman…

Here’s what I know about him:

1) I think he’s from New England.

2) He just moved here from Colorado Springs where he was the Arts and Entertainment Editor for the Colorado Independent.

3) If he gets stood-up, for whatever reason, he’ll still sit at the bar with a cold beer and talk Flaming Lips with a fellow music lover.

4) Hunter says “he seems like a good guy.”

5) He’s interested, motivated and excited about his new job in his new town in his new music community. That’s all I can really ask.

So welcome him. Let’s lose our “it shoulda been __________”