Texas Music Journal » Rock

Eddie Money To Help Raise Money for Levitt

Sam Moore — Tue, 14 Feb 2012 20:26:44 +0000

The Levitt Pavilion in Arlington is preparing to embark on a paraphrase of an old saying: You have to use Money to make money.

Eddie Money burst onto the music scene in 1977 with a double platinum debut album that featured hits like Baby Hold On and Two Tickets to Paradise. Fans fell in love with Eddie’s sound, and success soon followed with a stream of Top 40 hits. The Levitt Pavilion is proud to host a true rock legend this summer when Chesapeake Energy presents Eddie Money on Saturday, June 23, for the pavilion’s benefit concert.

In addition to his Top 40 hits, Money is known for some of the era’s most creative videos for songs like Think I’m in Love and Shakin’. Then, in 1986, Eddie released the classic, Grammy-nominated duet with Ronnie Spector, Take Me Home Tonight, which reached number four on the Billboard Hot 100 and still receives regular air time on oldies radio stations across the country.

The Eddie Money concert will include a $150 VIP ticket that includes dinner before the show plus VIP seating at the concert. Individual tickets for the concert only will be $25. Tickets for the benefit dinner and the concert go on sale through the Levitt Pavilion’s website, www.levittpavilionarlington.org and by phone April 16. Ticket sales for the benefit concert help raise funds for the Levitt Pavilion to produce 50 free concerts a year.

The June 23 benefit concert is during the Texas Power 2012 Summer Concert Series at the Levitt Pavilion, which opens May 25. The Eddie Money concert is the only summer concert that requires a ticket purchase.

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Professor Studying Life and Death of Buddy Holly

Sam Moore — Thu, 15 Sep 2011 15:54:07 +0000

(Editor’s Note: The following comes courtesy of the San Marcos Mercury.)

Poor management and haphazard planning could have contributed to the death of music pioneer Buddy Holly and changed the direction of rock and roll, a geographer from Texas State University suggests in an upcoming research article.

Kevin Romig, assistant professor of geography at Texas State, examines the touring life and career of Holly in an article titled Not Fade Away: Geographic Dimensions of Buddy Holly’s Meteoric Career. The article will appear in the upcoming issue of the Journal of Texas Music History, published by the Center for Texas Music History at Texas State.

Holly, a native of Lubbock, would have turned 75 on Sept. 7 of this year.

The article delves into details about the catastrophic “Winter Dance Party Tour of 1959” when Holly chartered a plane to fly him, Ritchie Valens, and J.P. “The Big Bopper” Richardson from Mason City, Iowa, to Fargo, North Dakota, just so they could avoid another long, cold bus ride across the icy Great Plains in early February. The chartered plane crashed within five minutes of take-off, instantly killing the three musicians along with pilot Roger Peterson. Holly was 22.

“Details about the furious travel itineraries along with the rinky-dink venue types and seat-of-the-pants arrangements made by tour promoters in Holly’s day would frighten the modern day professional musician” said Romig. “In many ways, the poor organization and management of the Winter Dance Party killed Buddy Holly and significantly changed the trajectory of rock and roll into the 1960s.”

In the article, Romig presents detailed maps depicting the journeys Holly took as a budding musician, along with a narrative highlighting the life of a rock and roll musician in the late 1950s.

In an 18 month professional career, Buddy Holly appeared in more than 250 live performances, performed on four television shows, traveled throughout the United States, Canada, Australia, and Great Britain, and managed to have eight top 40 hits on the Billboard charts.

“Buddy Holly’s imprint on the future of rock and roll was tremendous, and it is important for Texans to remember such a local hero and celebrate his amazing but short life,” said Romig.

Buddy Gets His Star

Sam Moore — Wed, 07 Sep 2011 16:28:33 +0000

He would have been 75 today. So this is a perfect time to celebrate “Buddy Holly Day in Los Angeles.”

Holly’s much-deserved star on the Hollywood Walk of Fame will be unveiled as a permanent public monument to this iconic artist. The event will be star-studded in many respects, including a rare appearance by Maria Elena Holly (Holly’s widow) speaking on his behalf, along with Phil Everly, Peter Asher, Gary Busey and surprise guests that are expected to honor a true legend.

Phil and Don Everly (Everly Brothers) were close friends of Holly’s and played many shows together. Peter (Asher) and Gordon, who were inspired by Holly from the moment they formed their duo, made Holly’s “True Love Ways” a worldwide hit. In 1978, Gary Busey starred as Holly in The Buddy Holly Story and was later nominated for an Academy Award® for his portrayal. The film won the Academy Award® for Best Adaptation Score.

Later this evening, the celebration moves to The Music Box in Hollywood for a special invitation-only concert and birthday party with special guest performances of Holly’s music by many artists who have been influenced by and love Holly’s music, as well as friends and family members from Holly’s life. The concert event will be filmed in HD for a PBS special airing in December 2011. Artists confirmed include: Paul Anka, Michelle Branch, Chris Isaak, Lyle Lovett, Raul Malo, Graham Nash, Stevie Nicks, Boz Scaggs, Patrick Stump and more.

The celebration continues through to the spring of 2012 with many activities meant to remember and extend other key elements of Holly’s legacy. Not only an outstanding artist, he was a visionary in the business of music, having created the first label, called Prism, to promote independent recording artists. His widow, Maria Elena Holly, has remarked that Buddy was committed to helping young artists succeed, as he had. To this end, this year-long celebration continues with several programs supporting the development of the next generation of music’s greats–both as artists and as entrepreneurs. Three music industry charities – The GRAMMY® Foundation, the Songwriters’ Hall of Fame, and Artists House Music — will benefit from this celebration hosted by Songmasters and its partners.

Holly continues to be an essential component of rock ‘n’ roll’s historical catalog as seen from the continuous sales of his Buddy Holly: Millennium Collection, which is the No. 1 seller of the Holly catalog, and recently released Buddy Holly: ICON. More than fifty-two years later, new fans continue to discover the genius of Holly and his accolades continue to grow. This year, Rolling Stone magazine positioned Buddy Holly as No. 13 on their “100 Greatest Artists of All Time” poll. Today, Holly’s classic recorded music catalog is managed by Universal Music Enterprises (UME).

Amy Winehouse Joins Infamous Curse of 27

Sam Moore — Sat, 23 Jul 2011 21:48:18 +0000

: Amy Winehouse

Today’s announcement of the death of singer Amy Winehouse brings to mind the names of many other famous musicians who, like her, died at the age of 27. Two of the members of this dubious group have strong Texas ties.

: Janis Joplin

The most well-known Texan, obviously, is Janis Joplin. She died of a suspected heroine overdose in 1970. Ironically, her death followed by less than the three weeks the death of Jimi Hendrix. They were both 27 years old when they died.

Robert Johnson

Robert Johnson is one of the biggest names in blues music. His famous recordings in the 1930s in San Antonio and Dallas left the world with the only lasting memories of his incredible talent. Legend has it that when he left Texas and went to Mississippi, he was poisoned after flirting with the wife of another man in a club.

Winehouse was found this morning in her London home. Officials do not have an exact cause of death. Drugs are suspected. Winehouse was a Grammy-award winning artist whose biggest hit was “Rehab.”

Other famous names in the club include Jim Morrison, Brian Jones and Kurt Cobain. It is believed that Cobain committed suicide in order to join the club. According to a book called “The 27s: The Greatest Myth & Roll,” more rock stars have died at 27 than at any other age.

Subrosa Union Planning to Tour Texas

Sam Moore — Fri, 29 Apr 2011 03:39:17 +0000

Austin-based epic rock-reggae band Subrosa Union, described as “more and more addicting after each and every listen” by staffers at Waterloo Records, last week released its new single, its take on Bob Marley’s “Is This Love?”, and will tour selected venues across Texas this month and next opening for Slightly Stoopid.

The band, which has built a growing fan base in Texas, California and Colorado, released the single on April 20, in the spirit of 420 and the love and support surrounding Marley and his music. It’s available for listening and downloading at http://beta.projectrodney.com/subrosaunion.

Subrosa Union will tour in April with The Dirty Heads and New Politics and with Slightly Stoopid and Ivan Neville’s Dumpstaphunk. In between, the band will perform at the first Neon Desert Music Festival in El Paso featuring The Omar Rodriquez-Lopez Group (Mars Volta), Los Amigos Invisibles, Girl in a Coma and more.

The band — co-founders Michael Anaya (lead guitar/lead vocals), Chris Paulos (bass) and Paul Valenzuela (drums) joined by new member Marc Martel (guitar/vocals) — has been touring non-stop since the 2010 release of its critically acclaimed ONE NIGHT STAND, produced by drummer Mike Cosgrove of Alien Ant Farm, which captures Subrosa Union’s bass grooves, solid beats, driven guitars and catchy lyrics so apparent on the first single, “6th St. Beauty Queen.”

Subrosa Union showcased at SXSW 2009 and 2010, toured for the troops for 64 days, has shared stages with 311, Slightly Stoopid, Rebelution, Pepper, The Wailers and many more, and proves to be one of the fastest-growing independent acts to rise out of Texas because of its high-energy live performances.

Upcoming Subrosa Union shows include:
April 28, Red 7, Austin, w/ The Dirty Heads
April 29, House of Rock, Neon Desert Music Festival pre-show, El Paso
April 30, Neon Desert Music Festival, El Paso
May 5, Stubb’s, Austin, w/ Rebelution
May 13, Palladium Ballroom, Dallas, w/ Slightly Stoopid & Dumstaphunk
May 14, Verizon Theatre, Houston, w/ Slightly Stoopid & Dumstaphunk

For more information, visit www.subrosaunion.com.
Also see www.facebook.com/subrosaunion, www.myspace.com/subrosaunion

Texas Band Leader Tries His Hand as a DJ

Sam Moore — Fri, 18 Feb 2011 05:26:15 +0000

Starting Tuesday, February 22nd on Austin’s 101X Radio (http://www.krox.com/) you can tune in to hear Jason Reece man the decks from 2pm until 6pm.

On the heels of their latest release Tao of the Dead which has been receiving favorable media reviews, Trail’s Reece will take to the airwaves during the late afternoon rush hour in Austin to “spread the gospel of Trail” and to spin some records.

Reece says to keep an eye out for the video for their “Summer Of All Dead Souls” off the new album. The band is gearing up for this year’s SXSW – dates to be announced soon.

Guitarists Find Sanctuary in McKinney

John South — Sun, 31 Oct 2010 23:23:35 +0000

Retail stores open every day; many never catch your eye. However, a store opened this past weekend in McKinney, Texas which sets a new bar for servicing guitarists and musicians. It’s called The Guitar Sanctuary, with Quinten Hope, Caron Hope, Maylee Thomas and George Fuller (Geo) as founders. What’s interesting about this store is that its name has multiple meanings that might not be caught by those who don’t know the principals. Yes, it is definitely a sanctuary for those guitarists who aspire to be the best. Not only does the store carry some of the finest guitars and amps in the business (like PRS and Collings guitars as well as PRS and Mesa Boogie amps), it also offers educational opportunities for students who want to perfect their skill levels on the instrument. This is a store run by musicians who themselves demonstrate the finest in music performance.

But The Guitar Sanctuary as a name highlights much more about these folks. Each has a strong faith which permeates their lives. You see this reflected not only in their music, but also in the way they interact with people on a day-to-day basis. They bring a freshness and life to their music that stems from having that strong base of faith. Musicians who work with the team at The Guitar Sanctuary will find caring and dedicated instructors.

When one walks in the store, one is taken aback by the beauty of the establishment (check out their website for a shot of the breathtaking entrance to the facility). The store evokes two emotions: one of peace and relaxation (like walking into a friend’s living room); the second of the excitement that you may have had walking into your first candy store. It’s hard to imagine how these two emotions can display themselves at the same time, but, in the store, you’ll see what I mean.

I visited the store during the Grand Opening. Okay, actually that is really underplaying the event; it was more of Grand Celebration. The place was packed with people. Now you say, “It was a Grand Opening. A lot of people will show up if you’re giving away a PRS guitar and Mesa Boogie amp.” However, on a day when squalls and tornado warnings (with an actual citing southeast of McKinney) were present most of the afternoon, it is impressive that the event was literally packed to the rafters (see picture). Being great musicians, the team at The Guitar Sanctuary felt the best way to celebrate the opening was with music. The lineup was fantastic. Originally planned to be outdoors, with the terrible weather, imagine the luck to have an immense, empty facility available right next door to The Guitar Sanctuary where the celebration could be held (remember that faith thing I talked about above).

What a celebration of music! The opening set was Quinten Hope and his band (www.quintenhope.com). I have been following Quinten for some time now, and to say that this was the opening set should tell you how high the bar was raised for the day. These guys are the epitome of Texas music. The ease with which they work together as a team makes their music superb.

But, wait… the second set, Maylee Thomas and George Fuller (www.maylee.com), took the stage with their band. Folks, if you have heard Maylee sing with Geo highlighting his mastery of the guitar, you’ll understand what I’m about to say. The performance was so incredible that I was lost in the moment with visions of some great singers of the past. People, it was like watching Janis Joplin in her prime (sans the heroin). I was actually stunned (in a nice way) at Maylee’s performance. She captivated the crowd and took them on a musical journey that none will forget.

Okay, so who could possibly raise the bar even further after the performances of Quinten, Maylee and Geo? Andy Timmons (www.andytimmons.com). Yup, folks, it only got better. The facility that Andy has with the instrument belies the difficulty of the work that he performs. Quoting a friend, “Andy is a monster!” He took the emotion built up from the performances of Quinten, Maylee and Geo and drove the audience even further. Andy played fantastic riffs that built the fabric of a musical story that thrilled even the youngest in that audience. By the time he finished, the audience had experienced one of the finest celebrations of the opening of a retail store.

Stop by the store or visit the website (www.theguitarsanctuary.com). You will find that the folks there are more than musicians and certainly more than store owners. They are people who truly believe that there should be a place of sanctuary for those who want to excel.

The Guitar Sanctuary is located at 6851 Virginia Parkway, Suite 101, McKinney, Texas. They can be reached on the web at www.theguitarsanctuary.com or at 972-540-6420.

Toadies Out to Spread Their Brand of Texas Music

Sam Moore — Fri, 06 Aug 2010 22:07:05 +0000

Interview by Charlie Vann

A new CD. A new tour through Texas. The Toadies are back.

TMJ correspondent Charlie Vann got a chance to talk with guitarist Clark Vogeler. Check out the url below to hear the extended interview with one of the members of this popular north Texas group.

http://cvann.podomatic.com/entry/2010-08-05T11_05_21-07_00

Texas Indie Group Gets Inspiration from Film

Sam Moore — Wed, 04 Aug 2010 15:59:45 +0000

By Tamara Loggins

Shaolin Death Squad integrates hard rock riffs, mild-paced melodies, and Serg Tankian-styled vocals to create their powerful third album, Five Deadly Venoms.

What makes this band so interesting is how they use piano solos, in the style of Tim Burton’s go-to-guy, Danny Elfman, intermingled with System of a Down musical stylings. At first, I wasn’t sure the two could be combined, but after hearing the opening track, “Romanza,” I fell into a deep infatuation. It’s terribly easy to get be transported to the world these guys create with their music.

The concept of the album was inspired by the movie Five Deadly Venoms by Chang Cheh. These guys combined the movie inspirations with their insanely intriguing musical style to create an album worth a slot in your CD collection.

For more information about this independent Texas band and to purchase their CD, go to: http://www.shaolindeathsquad.com/.

House of Blues to Serve Meat Loaf in August

Sam Moore — Wed, 23 Jun 2010 13:51:22 +0000

Most people would not consider him a Texas music performer. But Meat Loaf, the rock legend who grew up in Dallas better known as Michael Lee Aday, will return to his home town to perform at the House of Blues on August 26.

Tickets go on sale Friday at 10am.

Two nights later, on August 28, the singer will perform at the House of Blues in Houston.

Meat Loaf is famous for his “Bat Out of Hell” trilogy, which included the hit song “Two Out of Three Ain’t Bad.” He was also part of the cult movie classic, Rocky Horror Picture Show. He has a new album tied to his concert appearances, “Hang Cool Teddy Bear.”

To learn more about this former football player, bar bouncer and stage performer, visit www.meatloaf.net.

Levitt Pavilion Profiles Austin Band

Sam Moore — Tue, 08 Jun 2010 17:05:25 +0000

Be sure to catch this Sunday night’s concert when Levitt Pavilion audiences can hear the new opening act for the Dave Matthews Band, Black Joe Lewis & the Honeybears at 8 p.m. June 13. Joe Lewis’ retro style shows his love of deep Southern blues masters, but with a more dangerous slant. Add a gospel-inspired call and response, crisp, soul-soaked staccato brass, and song titles such as Big Booty Woman and Master Sold My Baby, and the result is a sweat-soaked sound edgy enough to win over youthful audiences unfamiliar with the likes of Lewis’ show-stopping predecessors, Otis Redding, Sam & Dave or Wilson Pickett. Ending 2009 on a variety of “best of” lists, Joe Lewis and his Austin-based combo have the kind of gritty attitude and deliciously greasy groove-consciousness that would pass muster in the best juke joint. Their concert is sponsored by the Arlington Arts Alliance.

Black Joe Lewis

Leading up to Sunday, the Levitt is pleased to welcome back The Boogers for the Chesapeake Children’s Concert Series on Wednesday at 10:30 a.m. and 7:30 p.m. Since The Boogers (Sticky, Crusty and Greenie) visited last summer, their debut album, Road to Rock, won a 2009 National Parenting Publications Gold Award! No wonder choosy kids pick Boogers!

On Thursday, the Levitt is proud to welcome Grammy nominee Cedric Watson & Bijou Creole, sponsored by the Star-Telegram. Cedric has been making a name for himself reviving the old Creole fiddling styles and injecting a healthy dose of his own personality. The Alternate Routes take the stage on Friday night with a sound that’s a hybrid vibe of rock ‘n’ roll grit and ghostly, meaningful balladry. They are sponsored by the Arlington Arts Alliance. After a life-threatening illness almost ended his music career in the late 1990s, Deryl Dodd re-emerged with a new appreciation for life and a stronger loyalty for himself and his own music, rooted in the country music classics he grew up listening to in Dallas. His concert with the Homesick Cowboys is on Saturday, sponsored by Vandergriff Auto Group. The concerts on Thursday through Sunday all begin at 8 p.m.

Texas Music a Big Hit for Dallas Band

Sam Moore — Mon, 07 Jun 2010 16:14:37 +0000

By Tamara Loggins

Southern country-rock band, Somebody’s Darling, has begun to make a big splash in the Texas music scene. A mish-mash of four supremely talented members, the band plays an amalgamation of folk, country and rock. Band members, Amber Farris, David Ponder, Nate Wedan and Michael Talley talk about how the group came together and their debut album.

How did the band get started?

Amber: Well Nate and I have known each other from high school. We’ve always wanted to play together, we started playing together and then we kind of went our separate ways. And then I was in a band with Dave and we met up started writing songs, and I called Nate up and told him, “Let’s play,” and then I called Mike and we were like, “Bam.” Literally, overnight we were a band. People kind of liked us.

Nate: It caught on quick.

David: That was two and half years ago.
How would you explain your genre of music?

David: Americana-soul-rock.
How long have you all known each other?

Nate: I’ve known Mike for a while. We’ve played in a band before this. We’ve known each other three or four years. I’ve known [Amber] since I was fourteen. I’ve known Dave for a couple of years.

David: I’ve known Amber from when we went to [University of North Texas]. And then we were in a band before this called Raw Leaves.
You guys recently won the Shiner Rising Star Award. Can you tell me a little about that?

Amber: We felt like we were apart of that music scene, country-rock. We always listened to that station, [95.3 The Range] and wanted to try it out. We thought it would be kind of fun, and a good way to meet some new people. We ended up winning the whole thing. We had been together less than a year when we joined it. It was cool.

Nate: They sent us up to Nashville and we cut our debut album up there. It was great.

Amber: We’re going on tour with Stoney LaRue. We just played The Texas Music Revolution [concert], and we’re playing with Hays Carl, Ray Wiley Hubbard, and a lot of big bands. A lot of good things came out of that competition. It was definitely more than just a battle of the bands; it was a big start for our career.
What was the contest like?

It was a twenty-four band battle of the bands. So they did it in two or three different rounds.

Amber: Over two hundred different bands entered and they narrowed it down to twenty-four. And they kept narrowing it down week by week with different judges. It’s not like a who can clap the loudest [competition]. There are actual musicians out there judging you.

Nate: Yeah. It was fun.
Was it a mix of genres?

Amber: We were probably the biggest outside genre. We were more rock than everybody else, more folksy-pop-rock. Everything else was pretty much country. That’s why when we won, we were kind of surprised. We were like “There’s no way. We’re not in their range. This isn’t going to work,” and when we won we were like “O.K.” So, it was cool. It worked out for us in the end.
It was your big break?

Dave: Hopefully, one of them.

Amber: Hopefully, we have a bigger break than that, but it was definitely the beginning of a big break.

Nate: It definitely jump started us. It helped us out a lot. Like he said, hopefully, there are more [big breaks].

Michael: It gave us the opportunity to work our asses off more.

Dave: And it gave us a really good quality album. I don’t know that we could have afforded that kind of album.
So tell me about the album.

Amber: We got to go to Nashville, and Dan Baird from Georgia Satellites produced it. We literally went to the studio, went to bed, woke up, and went back to the studio for about eight days straight. We were a new band; we didn’t have that many songs. Usually you want to go in to the studio with twenty plus songs. When we went in we had, like, five, and then we created fifteen more.

Dave: Within, like, a month.

Amber: And we were kind of just all thrown into it. They were like, “Go record in Nashville with this big producer,” and we were like “O.K.”

Dave: We were like, “You want us to go [to Nashville] a month? Really?”

Amber: We kind of didn’t know what we were doing, but we acted like we did. That works sometimes. When you pretend like you know what’s going on in the world, you tend to swing by things.

Nate: Nashville was great. I got to use King Coover’s, who was the drummer for Wilco, snare drums and stuff. It was just a great big room. The Dixie Chicks got to cut their first two albums in there, Lynyrd Skynyrd’s been in there. The room has been around since the ‘50s and it had a great vibe. Dan Baird just dialed in to who we are as musicians, and just captured our sound pretty well.
Who writes your songs?

Amber: We all write together. Initially I’ll come up with an idea with my acoustic and my vocals and then me and Dave will make it something more. And then we’ll take it to the band and we all create a song out of that small idea. It’s a band effort. No one person completes it.
What is your most popular song?

Michael: It just depends on the crowd. Who’s heard what. Out and about they like “Another Two Step.”

Amber: We have some songs that have been on the radio, like, “Horses,” “Been better,” “Another Two Step,” and one of my personal favorites “Cold Hearted Lover.” We’ve been getting a lot of good responses from that. It’s kind of rock and roll.
What radio stations play your music?

Nate: A lot. There’s the Satellite, Outlaw Country. 95.3 The Range.

Amber: Yeah, [Outlaw Country] is the big one.

Dave: There’s like twenty stations.

Amber: Our promoter is trying to get us on as many radio stations as she can, and then we’ll go from there. Hopefully people will like it and they’ll call and request it.

Dave: Then we’ll tour there.
What do you recommend for someone who’s starting their own band?

Nate: Gig, gig, gig.

Michael: And keep writing.

Dave: Write and play as much as you can.

Amber: We literally played once and then went out and played a gig. That’s how you get better.

Nate: Our first three shows were back to back.

Amber: Just do it. You have nothing to loose. Don’t wait for something to happen. You have to make something happen.

Nate: You’re not going to get rich quick. Just play and love it. Have fun.

Michael: And don’t quit your day job, or get used to semi-poverty.

What do you hope people get from your music?

Amber: My main thing is I like to see people have a good time. We write and play really passionately, and I want people to see that we really like what we do and what we write. And we take a lot of heart into the band. I think that’s been a big part of our success is that people can see it in our faces that we really care about this and it’s what we want to do.
Where can people find out more about your band?

Nate: Go to somebodysdarling.com. We also have Facebook, Myspace and Twitter.
People can buy your album from your website.

Michael: And we’re on iTunes, Rhapsody, eMusic, and Amazon.

Amber: Or call and request on 95.3 the Range. That’s a fun way you can listen to us too.
Do you guys play private events?

Amber: Yes.

Nate: Those pay pretty good [laughter].

Amber: I’m going to start doing weddings pretty soon [laughter].

Nate: I do mitzvahs, both bar and bod. Just letting you know [laughter].

Amber: If people ask us to play, we’ll play, as long as it’s a good crowd. We’ll pretty much do anything.

Fair to Midland Building a Strong Fan Base

Sam Moore — Wed, 05 May 2010 17:37:09 +0000

By Bianca Montes

Stepping away from the interchangeable sounds that are available in the market today, Sulfur Springs natives Fair to Midland left fans impressed and shocked following their performance at Trees in Dallas April 23.

[youtube]http://www.youtube.com/watch?v=QaZG5d3TbVg&feature=related[/youtube]

In the past 12 months, I have reviewed a lot of bands that have passed through Dallas and listened to new release after new release. Sadly, a lot of what I have heard has blended together. Unique musicians have been few and far between.

“The rock scene is kind of suffering,” keyboardist Matt Langley of Fair to Midland said. “The cookie cutter thing has really narrowed the field down to a pitiful degree as far as what kind of different things you’re liable to hear out there.”

I have said it before how important a live show is for a band when it comes to separating the good from the great. If you are not giving it your all on that stage, it is more than obvious to a fan that your dedication is lacking.

Fair to Midland

“When you do this for a few years, and most things don’t come through and you’re still doing it, you know you must be doing it because you love doing it,” said Langley. “I don’t know what all goes into the dynamics of why you do great in one city and not in another. Dallas is always good to us.”

Halfway through the first song, lead singer Darroh Sudderth was flooded in water and bleeding heavily from the face, yet still managed to emanate more energy and passion than any singer I have seen in my life. The raw talent and love for music of Fair to Midland is visually beautiful, but it is their individual styling that is delicately brutal to your ears.

The band performed crowd-favorites such as “Dance of the Manatee,” “Walls of Jerico” and barbarous “Rikki Tikki Tavi” to a packed house of fans who danced, drank and sang for the entire set and then cried for an encore. Dallas definitely loves Fair to Midland.

Gently stirring the crowd with the unreleased “Loopholes in Limbo,” the crowd openly accepted the neo-psychedelic blend of dark-pop layered with Sludderth’s, operatic-like vocals. This song is a refreshing and beautiful addition to Fair to Midland’s impressive lineup.

This May, Fair to Midland is set to tour with Texas sensation Flyleaf on the Unite & Fight tour. For more information on tour dates go to www.myspace.com/fairtomidland.

Big Names and Growing Bands Deliver at Edgefest

Sam Moore — Mon, 03 May 2010 13:42:26 +0000

For the past 18 years, KDGE (The Edge) has brought together some of the best in mainstream rock for their annual Edgefest music fest. This year was no exception as rock icons such as Courtney Love, Limp Bizkit and The Deftones performed for more than 17,000 Texans May 1 at Pizza Hut Park in Frisco.

Edgefest

Splitting the park in half with two stages and 14 bands, The Edge by far exceeded last year’s festivities with a solid lineup of second stage bands, including Cage the Elephant, Metric and Phoenix, who encouraged a rather large following at the side stage.

Hole

Love her or hate her, Courtney Love and her band Hole were the most highly anticipated performers of the day. Giving up hope of ever seeing Hole perform live back in the late ‘90s, I was happy to indulge once again into those angst-driven years where Doc Martins, flannel tops and Nirvana ruled my life.

Belting out a prolific set of mid to late ‘90s post-grunge rock hits, such as “Skinny Little Bitch” and “Celebrity Skin,” Hole managed to rile the crowd; however, it was the slowly unwinding composure of lead vocalist Love that captured the entire crowd’s attention.

There could not have been two better bands to follow Hole’s performance. Spiritually-rich Switchfoot and Texas-based Flyleaf filled the air with an uplifting message and powerful set.

Switchfoot

Serving as one of the first dates on their Unite and Fight tour, which kicked off earlier in the week, Flyleaf had the crowd screaming the lyrics to the heavy and punctuated guitars of “Fully Alive” as vocalist Lacey Sturm twirled around the stage in a white and black lace dress and sparkly TOMS canvas shoes.

The band performed hits from both their debut album and latest offering, Momento Mori. It put to rest any doubts fans had about the recovery of front-woman Sturm’s voice, thanks to the flawless delivery of lyrics and some of the longest growls I have heard to date.

The Deftones

Perhaps one of the most anticipated moments of the music festival might have belonged to rock legends The Deftones. Rapid guitars, heavy double bass drums and spine-splitting screams demonstrated why The Deftones are one of the greatest rock acts in history. Their time-tested sound was obvious gazing mesmerized fans, including Pat Seals, bassist to Flyleaf who stood with the crowd enjoying the sound.

While I would have liked for The Deftones to have been the highlight of the evening, it was the over-the-top set by American-rock band 30 Seconds to Mars that stole the show. Taking up not only the main stage, but the entire Pizza Hut Park, lead singer Jarod Leto exhausted the crowd and sent roadies running to buses with videos of his performance.

Their latest hit, “Kings and Queens,” built a buzz among the crowd while the epic guitar slowly built the track from beginning to end. However, the most memorable portion of 30 Seconds to Mars came during the acoustic performance of their biggest hit, “The Kill,” where Leto unexpectedly sprung from the stage and spent the remainder of the set roaming around the arena.

With such awards as Number 1 Artist in Airplay by Mediabase and Artist of the Year by Billboard, Canadian rock band Three Days Grace was a real treat for Dallas. Having seen this band earlier in the week in Belton, I was a little less than psyched for their performance. However, when their red lights began to flash and Johnny Cash filled my ears, I found myself running across the park in time to catch their set.

Heavy guitars and fast-driving drums delivered the signature sound of Three Days Grace as the band put on one of the most visually stunning performances of the evening. Most engaged during the performance of “Hate,” the crowd jumped up and down and screamed along with the band. Despite my previous apprehension, it is hard not to acknowledge this band’s ability to put on an amazing show.

Limp Bizkit

Controversial event headliner Limp Bizkit took the stage, infusing rock and rap onto a crowd that still managed to be amazed after more than 10 hours of rock. Despite questioning why this “come-back” landed the main slot on the bill, not a body in the crowd was still as Limp Bizkit unleashed hit after hit.

While some may criticize the more than solid lineup of artists who performed at Edgefest 20, this year’s music fest was filled with both long-standing and up-and-coming bands who delivered an amazing day of music for Texas.

For more information on Edgefest 20 and future Edge events visit www.kdge.com

For more photographs from the event visit http://slrphotography.smugmug.com/Music/edgefest2010/12039979_9NvFZ

Eisley Gives a Taste of Things to Come

Sam Moore — Sat, 30 Jan 2010 02:00:39 +0000

By Bianca Montes

Their fall tour is over. But Tyler TX native rock-band Eisley continues to leave fans in anticipation for their soon-to-be released album, thanks to the tour-exclusive EP Fire Kite.

“We’re definitely Southerners,” rhythm guitarist Sherri DuPree said. “We grew up listening to country music.”

Small city roots and an eclectic taste of music set the foundation for the unique styling of Eisley, whose last studio album, Combinations, was declared one of the best albums of the year by MSNBC.

Following the success of Combinations, The Fire Kite EP performs a solid offering of catchy and upbeat tracks, including “Away We Go,” a garage band track that was recorded several years ago.

“Ambulance,” a song written about the divorce of Sherri Dupree and Chad Gilbert of American rock band New Found Glory, touches on the subject from little sister and band-mate, Stacy DuPree.

“She was able to see through my eyes, the pain I was going through,” Sherri said, “and she wrote this amazing song… I can barely listen to it without crying.”

Instrumentally, “Ambulance” is a stripped-down showcase of Eisley’s sound and talent. With a melancholy piano piece and strings that give way to an increased volume during the chorus, “Ambulance” takes the listener on an emotional journey of pain, regret and the need for healing.

For a taste of the band’s upcoming album, “192 Days” creates a coffee house acoustic feel. The simplicity of the instruments and lyrics tell a complex story of love, and how it provides comfort and protection. “192 Days” is a delightful track and does an amazing job completing the Fire Kite EP.

For more information on Eisley, visit www.eisley.com/ and www.myspace.com/eisley.

Earl Bailey – Guitarist and Innovative Educator

John South — Tue, 26 Jan 2010 03:24:27 +0000

By John South

Evenings in Plano are generally fairly quiet, not that Plano is the small, sleepy bedroom community it used to be. But on most evenings, outside one particular house, one can hear the distinctive low frequencies of guitars and the thumping of a drum machine that signal that you have reached the studio of a music teacher.

This is not the studio of just any teacher though. As you enter the studio, you hear two of the students playing a chord progression in G major; another is improvising over the progression. In front of the small class, sits the teacher. He alternates from helping the students stay in time with the drum track, providing his own improvisation, and assisting one the students who doesn’t have a chord properly shaped. All watch as his large hands float across the fretboard.

Earl Bailey has taught many students from his studio–many who were learning to play their first instrument, others who were accomplished musicians with other instruments, and some with college degrees in music. He starts each student with the same fretboard chart – where he shows them the five easy areas to memorize. If a vacancy occurs in a class, the new student starts with the same blank fretboard chart with the more experienced students assisting in initial education.

How did Earl Bailey become a music teacher?

Bailey, originally from Oklahoma City, fell in love with rock guitar when he saw Def Leppard on MTV in 1981. He spent four years perfecting the air guitar, even after his mother bought a guitar from a pawn shop sometime in 1982 or 1983. He never learned to play that guitar, as its warped neck and the lack of an amp never allowed him to determine if it actually worked.

Bailey says, “I didn’t realize until years later that it was that guitar that gave me hope that one day I’d have a real guitar. The first guitar I bought was an Aria Pro II Les Paul copy in 1984. I paid for it by mowing lawns and with my allowance. But, my official start date was September of 1985 when I got my first amp, a Crate 110. A friend showed me how to play “Rock You Like A Hurricane” from the Scorpions. I took it from there.”

Bailey bought books and tapes, and learned whatever anybody would teach him. The key to his early success was the fact that he played every day for several hours at a sitting. He even competed in guitar contests after only playing for six to nine months – no wins but he gained great experience.

Bailey continues, “I took two lessons in my third year. That is where I learned the major scale and some basic arpeggios. I played in some garage bands in high school like CYRUS and CAPTAIN BLOOD. I played in some talent shows but the garage bands were just that…garage bands. After high school I played in a reggae band called DUB FACTOR.”

In 1991, Bailey moved to Texas to attend the Art Institute of Dallas for its music and video business program. Bailey says, “Around this time I was doing a lot of recording of my own music, going to school 20 hours a week, playing in a metal band called X-MAN, studying kung-fu, doing tournaments, and discovering who I was as a person and a musician. My solo project was called SHAOLIN. “

In 1994, Bailey released a local consignment album called “Year of the Dog.” Six years later, he compiled another album under a project simply called “EARL”. The album that resulted from this effort was titled “Harder Than It Seems.”

“I met my teacher Philippe Willem in 1998. I studied with him for 3 years alltogether. That is where I learned how music really works, “ Bailey tells us. “He encouraged me to teach, telling me that by teaching I would always continue to learn. That is the main reason why I teach to this day! I will always be a student.”

What has 11 years of teaching and 25 years of guitar playing taught Bailey?

“The problem today is that there is too much information,” Bailey says, “It’s hard to know where to begin. “ He quotes Ralph Waldo Emerson, “’There are many methods, but few principles. The one who can grasp principles can successfully select their own methods. ‘ That is how I teach.”

There are many guitar methods on the market today. Some go into extreme detail showing you one scale after another. But, they don’t teach you the principles behind the scales. That is where Bailey focuses his students – learn the principles, then practice what you have learned, and experiment to find your own voice.

What do his students think about Bailey’s teaching method?

Jerry Fitzpatrick is an architect that has been studying with Bailey. “Earl Bailey is a unique talent, aside from his mastery of music theory and guitar. Earl has the ability to teach. Sounds easy, but not so! Earl is one of the few who can immediately “dial-in” on a student’s level of experience and understanding, tailoring his response, while the student feels supported and encouraged. Watching him relate to students of all levels (and ages) is amazing. Everyone leaves feeling confident that their individual goal as a musician is entirely possible. You leave, knowing “I can do this.” Amazing teacher, kind person, talented musician! You can’t find better and you are blessed to study under him.”

What is the next phase in teaching for Bailey?

This year represents a new direction in teaching the guitar for Bailey. He is bringing his method of teaching out to people who can’t join him in the studio. The first phase is to provide a set of backing tracks against which students can practice improvising. He illustrates his concept of learning scale principles by keeping all of the tracks in G major (Em). The tracks allow you to practice all seven degrees of G major as well as the three pentatonic options. Each of the tracks provides a different feel for the music, but allows a player to fully express their feeling in the music.

The backing tracks are available from iTunes (http://itunes.apple.com/us/artist/earlsguitar/id338743929).

The backing tracks are only the first phase of this project. Bailey is recording a video to work in conjunction with the backing tracks. The video will be on the market shortly, but the backing tracks are available now. They are valuable for budding, as well as accomplished guitarists.

The Bailey guitar method cuts through the confusion that most other guitar methods provide as the meat of their lessons. However, whether sitting in class or using the video and backing tracks, in the end, it’s up to the student to have the desire and fortitude to learn how to play. Bailey sums it up, “For those who want to learn to express themselves honestly through the guitar, there is a better way. I know not everyone wants to be enlightened. But music is a beautiful language that allows us to communicate with each other without saying a word. “

You can learn more about Earl Bailey by checking out his website (http://www.earlsguitar.com) or by going to his Facebook page (http://www.facebook.com/profile.php?id=100000116710452#/profile.php?v=info&id=100000116710452).

Alternative Rock Band Produces Memorable CD

Sam Moore — Mon, 23 Nov 2009 17:36:24 +0000

By Bianca Montes, Richland College

It has been a journey for Texas-based rock band Flyleaf. With nearly a decade of touring, 1,296,700 albums sold and a life of 155 weeks on Billboard charts, this band shot straight for the stars and never turned back.

With roots running from Arlington to Temple TX, this alternative rock band played over 100 shows in Texas in a two year span before being recruited by record label, Octone Records in 2004. Their hard work and dedication did not end there. The band went on to tour over 600 shows all-the-while gaining fans in every city.

It has been more than four years since Flyleaf released its self-titled debut album. The album influenced many lives, and I am not the exception. Involving myself with a review is not something I do often, but I think this is a day to play homage to all that Flyleaf has done in my life. Their music played a big part in saving my life, and has opened my eyes to love, forgiveness and grace. When my heart was broken, the lyrics of Flyleaf sang to it while addressing my darkest fears.

Once announced, the sophomore album of Flyleaf entitled Memento Mori became one of the most anticipated and slightly delayed albums of the year. The title, a Latin phrase which calls for people to remember their mortality, and is a perfect fit for this albums message. The urgency found in the debut album of Flyleaf is slightly toned down in Momento Mori’s tone, but once you dive into the lyrics you will find a whole new level of urgency.

The album bursts to life with “Beautiful Bride.” The track contains driving and forceful beats that perfectly capture what Flyleaf has been known for. While the song may not fit entirely with the Memento Mori phrase, the anthem that is just for us, the bride, is beautiful in its own.

Tracks such as “In The Dark,” “Break Your Knees” and “Chasm” hint at the styling we have grown to love from Flyleaf. “Chasm,” a personal favorite, set my heart on fire as I fell into the lyrics and meaning of this song. Based on a story in the Bible (Luke 16:22-31) the song warns that “The Chasm isn’t fixed yet,” and ties in with the reminder to remember our mortality.

“Set Apart This Dream,” an anthem for girls across the world, is said to be based on the book “Wild At Heart” according to lead singer Lacey Sturm; however, I believe it is most likely based on the sequel “Captivating” by John Eldredge and his wife Stasi. The song is a beautiful decree to women and girls to remember that they have been set apart. While the beats are less driving and more melodic the song still packs a powerful message.

The climax for the album shines in the 8th track “Swept Away.” The song starts off hard and ends hard. The lyrics “Evil fell from your pretty mouth, wrapped in your classic voice” are tough and in your face, and they truly showcase the maturity of the band.

Love song, “Treasure” starts out slowly and then builds as the song progresses. The song was written after lead singer Lacey Sturm was proposed to by husband Joshua, and the emotions she felt at that moment. The beauty of the lyrics speaks highly to their love, “Refined I’ll become the most dazzling precious treasure.”

Overall, Memento Mori is a wonderfully pieced together album that weaves a coherent and beautiful story. The album leaves the listener with the sense that all things have an ending, and that while we are fortunate enough to have time now, we must constantly be mindful of our mortality.

New Orleans Group Rocks It in North Texas

Sam Moore — Thu, 19 Nov 2009 21:23:40 +0000

(EDITOR’S NOTE: The Texas Music Journal is constantly striving to bring stories from all forms of music, from all parts of the state. We are excited to announce that we have begun partnering with various colleges and universities in Texas, to provide entertainment coverage. The following story is from Bianca Montes, a student at Richland Community College in Dallas. The story also appears in the Richland Chronicle.)

New Orleans-based rock band MuteMath took the stage Oct. 29 at The Dallas Palladium Ballroom.

MuteMath

Since the band was formed in 2003, MuteMath, whose cool, calm and flowing style ranges from alternative rock to experimental pop, has been toying with their brand of music. Many thoughts passed my mind as I watched the show such as; Oh my God and Wow: however it is hard to find words that describe the charisma of MuteMath.

As I sat behind my camera, it was hard for me to imagine the feelings the audience gets. There was so much going on during the performance, that by the time I left the photographer’s pit I was exhausted.

The Palladium was filled with blue, yellow and green lights that flashed across the stage. Everyone was lit up in psychedelic coloring and the vibe in the air was ripe. Watching MuteMath is almost like watching four live performances feeding off each other’s creativity. The energy of the band-mates blends perfectly into one amazing show.

While MuteMath has strong ties to New Orleans, bassist Roy Cardenas had his start in Houston, Texas and later moved to McAllen, Texas with his family. He is most known for his work in MuteMath, but he also has strong ties to working as a session bassist for the last ten years.

The highlight of the show for me was the percussionist, Darren King. I do not have a thing in the world that I can compare him to, but I want you to picture this guy. Every single beat of the songs MuteMath played were complimented by the true raw styling of King. With his headphones duct taped to his head, symbols flying and water splashing from his drum set, I almost forgot there was anyone else in the room.

MuteMath

Weeks ago when I sat down with Grammy-nominated King for a phone interview, I would never have imaged that this, well spoken drummer from Missouri, would be the wildebeast that I saw at The Palladium Ballroom. Sure, I had heard the rumors about his wild-child antics on stage, and even addressed them in our interview, but somehow I was flabbergasted once I saw him in person.

When asked about his roaring onstage persona, King quoted an old Elliot Smith interview in regard to why his music was so quiet. According to King, Smith responded that, “When you grow up with screaming in your house, the last thing you want is screaming in your work, in your music, in your art,” King explained his styling as, “I think that I have the exact opposite to blame. I have a very quiet, simple Marshfield, Missouri, safe, comfortable, cozy, imaginary friend’s childhood. I get a little carried away whenever it comes time to play a show. I get excited.”

Excited does not seem to entirely grasp what happens when he and the drums become one on stage. King is the sort of drummer that could make the deaf take notice of his startling performance. What more could one expect from a guy who coined “Monster from the Muppets, The King of Crazy Drummers.”

One of the band’s biggest successes is their song “Typical.” The music video for “Typical,” which made its way to the New York Post Hit list, after premiering on YouTube in March of 2007, features the band performing the song backwards. The song features an alternative-styled guitar part accompanied by a similar drum set. These features are mixed with an almost techno-sounding piano and bell section.

The vocals on the song fit perfectly with the very eclectic instrumentation and composition of the track. Lyrically, the song is wonderfully timed with the music flowing well from verse to chorus. The song begs to ask the question, how long does one have to wait, work and suffer before they can be someone and accomplish all they want? The verses allude to the speaker’s life and all he has been through while declaring that something of “another level” is out there. With the urgency of the lyrics blending into a perfect marriage with the music this song is anything but typical.

Another huge success for MuteMath is their song “Spotlight” which was featured in the box office smash, “Twilight.” The song is fast-paced and driving in comparison to “Typical.” The music is punctuated with an amazing cymbal beat that drives through the song while being accompanied by a steady, bass and drum part. These three instruments set the tone and pace for the entire piece. The song fit perfectly with the story of “Twilight,” which makes perfect sense. Stephenie Meyer, author, called MuteMath her muse while she wrote her three-book saga. When asked if MuteMath was interested in scoring more music for “Twilight,” King said, “I don’t think that would be smart on their part to work with the same bands each time. I don’t think it would be smart on our part, either, because we could become the Twilight band.”

Overall, the experience of watching MuteMath exceeded anything that I expected. This band is a must see and a truly unique experience.

Jesus Team A, Jesus te ama!

Rick Matos — Wed, 28 Oct 2009 15:34:48 +0000

One of several musical highlights of the recent University of Dallas Ministry Conference held October 23-24, 2009 was Jesus Team A (JTA), a band with soul and talent to spare.

The name “Jesus Team A” is a play on words: “Jesús te ama” means “Jesus loves you”. But to tell you the truth, I think the feeling is mutual. Just like its names, JTA’s music displays a kaleidoscope of influences ranging from Rock, Soul, R&B, Latino, Jazz, and more. I’d be pulling your chain if I told you that I could actually pick them all out, but I’d be downright lying if I told you I didn’t enjoy their show.

JTA’s music dares to be different while at the same time universal. Its rainbow of melodic variations, chord progressions and syncopation is complemented by relevant original lyrics that tell you something, something you’ve always known, something you’d long forgotten, something you’ve yet to learn.

JTA is headed up by Vince Lujan of the Vince Lujan Project (VLP), and various of the members of JTA are also members of the VLP. While both bands have a crossover of influences and musical styles, each retains its own identity. Vince’s songwriting and guitar playing skills match his vocal presentation and make for a memorable performance.

JTA has released a CD album entitled, “In the Hands of My Father”, and the VLP has released a CD album entitled, “Echo Lab Revisited”. Needless to say, I purchased both of them and will be reviewing them in the future.

To find out more about JTA, check out their websites at:
www.jesusteamaband.com
www.myspace.com/jesusteamaband
www.facebook.com/pages/Jesus-Team-A…/101011205129

To find out more about the VLP, check out their websites at:
www.thevincelujanproject.com
www.myspace.com/vincelujanproject
www.facebook.com/pages/Vince-Lujan-Project/20937800018
www.garageband.com/artist/vincelujanproject
www.winamp.com/artist/the-vince-lujan-project

Austin Studio Gains Historic Status

Sam Moore — Tue, 11 Aug 2009 16:45:25 +0000

There is no denying that Austin City Limits has carved itself a piece of music history. Now the studio is joining the show.

The Rock and Roll Hall of Fame and Museum is designating the studio where the show is recorded, on the campus of the University of Texas, as a historic rock and roll site. Terry Stewart, president of the Cleveland hall, said the show site will be among nine other rock and roll landmarks throughout the country.

Audience members who attend the show in this, its 35th season, will be able to see a plaque signifying its historic significance, which will be placed in the studio.

J. D. Souther (with Kristy Kruger) at Threadgill’s in Austin

baspinwall — Wed, 10 Jun 2009 01:05:27 +0000

By Bill Aspinwall, Austin, Texas, June 7, 2009

Threadgill’s, once known as World Armadillo Headquarters, is a storied palace of Austin’s musical heritage. It features a small outdoor venue that’s like a large side yard with a shed for a stage – from which you can read the Hooters billboard across the street. Scores of musical legends have performed here and scores continue to come.

There’s home-style cooking at the restaurant (assuming home for you is somewhere south of I-20), poorboys, sweet potato fries and fajitas. The Mexican martinis are stellar.

On this Sunday night, in this tiny venue, the crowd built up to maybe 150 or so, every row tinged with gray hair and time-creased faces. Survivors from the sixties and seventies had come to pay tribute to a songwriter with a career that reaches back for forty years.

“Ladies and Gentlemen, please welcome John David Souther”.

That introduction was met with a standing ovation. Not just the elders, but also the younger people in the crowd, even one table of graduates from East Austin’s Kealing Middle School.

J. D. Souther, though born in Detroit, was raised in Amarillo. Maybe there’s something in the water on the high plains of Lubbock and Amarillo: Buddy Holly, Jimmy Dale Gilmore, Eddie Reeves, Mac Davis, Susan Gibson, Joe Ely, Butch Hancock, Waylon Jennings and Lloyd Maines – all were born or raised on those high plains in west Texas.

Very early in his career, Souther moved to Los Angeles and became part of a musical community of friends that included Jackson Browne as well as Glenn Frey and Linda Ronstadt, hugely successful country-flavored rockers who followed in the footsteps of Clarence White, Gram Parsons and various configurations of the Byrds and the Flying Burrito Brothers.

Souther wrote, or co-wrote hits, big hits, for the Eagles, Linda Ronstadt and James Taylor. Later, after relocating to Nashville, his songs got picked up and by the likes of George Strait, the Dixie Chicks, Jimmy Buffett, Bonnie Raitt, Trisha Yearwood and Warren Zevon, among others. There’s an excellent interview of Souther, originally published in 1998 in Goldmine, posted by the author, freelance writer Debbie Kruger at www.debbiekruger.com/writer/freelance/jdsouther.html. That site also includes the full transcript of the interview; great stuff.

Souther has been on tour since late 2008 to support his first release in 25 years, “IF THE WORLD WAS YOU”, released both as a CD and on vinyl in October 2008. More details about the project are available on his website.

He now cuts a gaunt figure, lean as rain in Reno, wearing a plain suit in preacher black, no tie. Three acoustic guitars, a baby grand and no back-up band. He opened the show on guitar with “Your Turn Now”, from his 1976 album, Black Rose. His whole set mixed songs from various times in his career, switching between guitar and piano.

His voice has a warm, breezy quality, sweet enough in the higher registers to have opened opportunities for Souther to sing duets, backing vocals and harmonies with many notable recording artists. His unique timbre could be heard particularly in two songs near the end of his set, “Maybe It’ll Rain” and “Faithless Love”.

Performed solo, his songs rise above any genre classifications, while incorporating elements of country, western, swing, rock and Latin styles. His influence on other songwriters like Jackson Browne, Glenn Frey and Don Henley is evident.

It was comfort of a kind to hear his performance of “New Kid in Town”, stripped of all the Eagles’ gloss – though he unfailing gave due respect to his friends in that band, saying, “The boys always made great records of my songs.” Comforting, too, was his rendition of “Simple Man, Simple Dream” also from Black Rose. Both songs reveal his extraordinary writing capabilities.

His piano playing is particularly fine; spare, gospel flavored and understated. And while his guitar playing might not merit an endorsement deal, it’s made from a sturdy cloth that suits his songs. In one song during the evening, (“Baby Come Home”), Souther tuned a string a half-step down in mid song, shifting an open major tuning to a minor for the song’s bridge, then tuned it back up for the rest of the song. Nice touch for a songwriter.

He was occasionally pestered by the traffic sounds, motorcycles roaring past on Barton Springs Road, but Souther held the audience tight throughout his set. In an age where every other youtube guitarist offers hopped up but hackneyed versions of all the modern guitar classics, its quite beside the point to bust Jake Souther’s guitar chops. No one else on the planet can captivate a crowd with a timeless song like “Faithless Love”, with that celestial tenor and a full moon rising in the east on an early June evening in Austin – that’s some kind of magic.

The show was opened by Kristy Kruger (www.kristykruger.com). She’s ostensibly from Dallas, although she’s recently spent so much time on the road that, quoting her own lyrics, “My Home is Everywhere”. She played a short set of seven songs, mining an area along the swing blues and country swing divide, maybe somewhere between Billie Holliday and Leon Redbone. She writes tight, bittersweet songs on guitar, banjo and piano and delivers them with the heavy-lidded, sly smile of an inside joke. She’s a fine performer, a good musician and a pleasant surprise – she also opened the recent show in Dallas for J. D. Souther.

Album Review – Blues Rockers: For Adults Only

John South — Thu, 23 Apr 2009 16:30:31 +0000

This album has been out for a while, but it is notable from several aspects – production value, the songwriting, and the performance. The versatility of the singer/songwriters comprising the Blues Rockers is evident in the diversity of compositions presented. From the heavy rock aspects of “Democracy” and “Window Pain” to the exquisitely heart-wrenching story in “Appletown” to the bluesy “Dreaming” and “Coins and Lace”, the musicians illustrate how flexible they can be at developing and performing their work.

The album is superbly produced. It’s obvious that attention was given to each track to get the exact sound that they were looking for. The mix is bang on; which had to be particularly difficult given the different styles adopted by each song.

One of the verses of “Coins and Lace” highlights the bluesy nature of the song and the skill of the songwriter to weave a tapestry of loneliness and despair:

They say that time heals all wounds
But time can’t erase
The emptiness I fell inside
Or the loneliness I face.
Why can’t I get you out of my mind
And go on with the race.

Interestingly, I’ve had the pleasure to hear many of these songs performed as solo performances by Mudcat Reames and other notable Texas singer/songwriters like Billy Ewing from Milford, Texas. In particular, I’ve heard the evolution of the songs “Appletown”, “Walk With An Angel” and “I’m Not Crazy” from their delivery in this album to the way they are performed today. Whether offered in a highly produced studio setting or on a 12’ x 12’ outdoor stage in Ennis, Texas, these enduring songs are strong enough to hold their own.

Track Listing
1. Buy Now and Pay Later
2. Walk With an Angel**
3. Love Sickness
4. Dot Com
5. Coins and Lace**
6. How Times Have Changed**
7. I’m Not Crazy
8. Democracy
9. Appletown**
10. Window Pain
11. Dreaming
12. Too Late**

**Notable Tracks:

Wayne Folse – Guitar and Lead/Background Vocal
Arthur Folse – Drums and Percussion
Keith Folse – Percussion and African Rain Stick
David Gray – Bass
Michael “The Mudcat” Reames – Lead Vocal, Guitar and Blues Harp

Special Guest: Jannsen Lohmeyer – Keyboard and Synthesized Strings
Produced by Rhonda Lohmeyer, Ryan Panepinto, Reames and Folse
Executive Production: Hurricane Records

Copies of the album can be obtained by emailing Michael Reames (mereames@hotmail.com).

Further information on Michael Reames can be found at:
http://www.myspace.com/michaelquotmudcatquotreames

[Artists if you would like your album reviewed by the staff of Texas Music Journal, send 2 copies to the Executive Editor, John South, 8920 Pocono Dr., Plano, TX 75025. All albums are jury reviewed by singer/songwriters. Please provide contact information so that we can obtain additional supporting information for the reviews. All musical genres are welcomed. CDs cannot be returned, but we promise all artists a fair and quick review. ]

Cancer Claims Dan Seals

Sam Moore — Thu, 26 Mar 2009 19:19:26 +0000

The following is from CBS News:

Pop singer turned country star Dan Seals has died of complications of cancer. He was 61.

Seals died Wednesday at his daughter’s home in Nashville, after a battle with lymphoma.

The brother of Jim Seals of Seals & Croft, Dan Seals sang under the name England Dan in the 1970s in a duo with John Ford Coley.

They had several hits, including I’d Really Like to See You Tonight, Nights are Forever and Love is the Answer.Seals and Coley met in Dallas in 1968, playing in a rock band before perfecting their soft pop sound. The duo disbanded in 1980.

Seals then began a solo career, climbing the country charts with hits such as God Must Be a Cowboy, My Baby’s Got Good Timing, Bop, and You Still Move Me.His duet with Marie Osmond, Meet Me in Montana, was a chart-topper in 1985 and earned the pair a Country Music Association Award for best vocal duo.

Seals enjoyed a successful country career throughout the 1980s and early 1990s, but his soft country sound fell out of fashion in the 1990s and his popularity waned.

He continued to tour and released his last studio album, Make It Home, in 2002.

Born Danny Wayland Seals on Feb. 8, 1948, Seals grew up in a music-oriented family in McCarney, Texas.

He learned to play bass and both his brothers — Eddie and Jim — became musicians.

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I had an opportunity to meet Dan Seals in the 1980s, at the Houston Livestock Show and Rodeo. He was much taller than I expected – that was my first reaction. And I could not believe that this guy, who I had absolutely loved as part of England Dan and John Ford Coley, was singing such touching country songs. I was really impressed.

Every time I drive in south Dallas and see the exit for Dowdy Ferry Road, I think of the popular duo. From now on, I will tip my hat to the big man who proved to be a giant in the pop and country worlds.

Eli Young Band Rocks

Sam Moore — Tue, 17 Feb 2009 03:40:34 +0000

I guess it shows the breadth of the popularity of this state’s music. I was in Baton Rouge LA Friday night. I went to a venue called, appropriately, the Texas Club. And I sat, watched and listened for the first time to one of Texas’ hottest country/pop groups, the Eli Young Band.

I learned a lot. First, there is no one in the group named Eli Young – at least, not technically. There is a Mike Eli, the lead singer, and a James Young, an incredibly talented lead guitarist. The group also has drummer Chris Thompson – who successfully captured the eyes of every young female fan – and bassist Jon Jones, who played some of the best licks I have ever heard.

The Denton-based band is promoting its first successful national CD release: Jet Black & Jealous. The current hit is a good one – “Always the Love Songs.” “When It Rains,” another popular song with the fans, is also included. But as witnessed during their live performance, these two songs just scratch the surface of the talent level of these four young men.

In this venue – with posters of Willie, Merle, Tracy and David Allan looking down – I expected a country show. What I got was country, but very much plugged in. Many songs verge on the rock classification. And each work is absolutely full of energy. And the guys look so young, I did not expect to get such an experienced sounding result. It was quite a pleasant surprise.

The Eli Young Band is currently nominated for Best New Group or Duo by the Academy of Country Music. Voting takes place for just a few more days. Anyone wishing to give them support can go to www.acmcountry.com and follow the links to register and vote.

The four Texas boys are very busy these days. They have two performances this weekend in the Dallas area, then head to Oklahoma and Colorado for gigs in those states. Go to www.eliyoungband.com for full show details.

During their show, Eli told the crowd, “For seven years, we traveled by van. Now we finally have our own bus. But no matter where we go, we always thank you for making us feel at home!”

After a two-hour show and encore filled with songs written by each of the members, Eli Young closed with a song that they said “will never appear on any of our records.” Their cover of the Beatles’ “Come Together” was fantastic and appropriate. My guess is these four guys will come together to create wonderful Texas-based music for years to come.

Discography

	LevelReleased April 5, 2005 by Carnival
	Live at the Jolly FoxReleased November 14, 2006 by CarnivalRe-released 2009 by Universal South
	Jet Black & JealousReleased September 16, 2008 by Universal South
	Eli Young BandReleased September 16, 2008 by Universal South

One Door Closes, Another Opens

John South — Tue, 03 Feb 2009 07:00:21 +0000

A flip of a coin, the flu, bad weather and an inexperienced pilot changed the face of music at 1:00 AM, fifty years ago today.

America woke up on February 3, 1959 to find that Charles Hardin Holley, Richard Steven Valenzuela and Jiles Perry Richardson, Jr. were killed in an early morning airplane accident. Buddy Holly, Richie Valens and J.P. Richardson (the Big Bopper) had played at the Surf Ballroom in Clear Lake, Iowa, the night before. Holly had rented a charter airplane to fly himself and his backup band to the next leg of their tour in Moorhead, MN. J.P. Richardson, suffering from the flu, took Waylon Jennings’ seat. A toss of a 50-cent piece gave Richie Valens the seat that Tommy Allsup was to have taken on the flight. This story was immortalized in Don McLean’s “American Pie” as “…the day the music died.”

The importance of Buddy Holly to the Texas music scene wouldn’t be realized for a number of years after his death. Even those musicians who grew up with and around Buddy Holly didn’t grasp his significance at the time. Lloyd Maines, the prominent Lubbock-born producer and musician, illustrated how Holly’s passing was understated.

“I didn’t really get a grasp on how much Buddy Holly, for instance, had influenced music worldwide until I started playing with Joe Ely; This was like 1973…But until I heard Joe doin’ his versions of Buddy Holly music, to tell you the truth, I had never even paid that much attention to Holly’s music. I always knew it was there but I never paid that much attention to it.” Interview of Lloyd Maines by Chris Oglesby at Cedar Creek Studios, November 21, 2000 http://www.virtualubbock.com/intLloydMaines.html (Accessed February 1, 2009).

Sam Moore of the Texas Music Journal visited Lubbock two years ago and found that the phenomenon that was Buddy Holly is still underwhelming.

I have always been fascinated in Buddy Holly. I was born in 1957, so his music has been around my entire life. I always thought he looked a little funny, with those black glasses. But I LOVED his music.

My appreciation for Buddy grew even more during a visit to Lubbock on business a couple of years ago. I took some time out from my day to look around town and see what I could find out about the music legend. I knew his songs, and I had seen The Buddy Holly Story. But I wanted to see if this could all come alive for me. Trust me, it did.

I was amazed how understated Buddy Holly is in Lubbock. And I think that’s a good thing, really. I picked up a map of sites to see that were important marks in his early career. I saw the house where he grew up. I saw the skating rink where he performed – if you saw the movie, you know how important that is. I saw the radio station that gave him his break to be broadcast during his live performances. But none of this is glitzy or flashy. Each location is, well, just there. And most of these sites project the image that make you feel like Buddy could walk around the corner any minute. It all feels very “real.”

I then went to the Buddy Holly museum. It is small, much smaller than I anticipated. But it was filled with information, memorabilia, and films about his life and times. Even though it has been two years since my visit, I still remember being impressed that everything he did musically – the impact he made on the music world, not only in his time, but for generations to come – was done in less than a two-year period. I couldn’t believe it.

Then finally, I decided to go find his grave site. It’s not easy to find. After visiting the cemetery office, I finally got some guidance and found it. The only thing that helps you realize who he really was is the guitar on the tombstone. Standing there in the quiet, looking at the grave, I found a new appreciation for “the day the music died.

In the music industry, the impact of Buddy Holly is not questioned. Though his recording and touring career lasted less than three years, his approach to rock and roll influenced a number of musicians, including the Beatles, the Rolling Stones, Bob Dylan, Joe Ely, Jimmie Dale Gilmore and Janis Joplin. The fiftieth anniversary of Holly’s passing may be as understated as the celebration of his life. There are some well written newspaper and magazine articles that mark the anniversary (see the Texas Music and Performing Songwriter articles in particular). There may even be some mention in television shows. But, the real tribute to Holly will be in the music that he inspired in countless famous and not so famous musicians.

Tribute from the local press: Iowans Remember Buddy Holly performance

Buddy Holly: Changing Game

Not Fade Away: Why Buddy Holly and the Crickets’ Music Still Matters Fifty Years after His Tragic Death

When Don McLean penned “…the day the music died” he may have had Buddy Holly in mind, but we have to remember that two other forces in the music industry also passed away in that accident, Richie Valens (“La Bamba”, “Donna”) and J.P. Richardson (“Chantilly Lace”). One can only wonder where Texas music would be today if the three had not taken that flight. With the loss of all three artists, February 3, 1959 was truly the day the music died. But, we also have to take pause and think about how music in Texas would have changed if Tommy Allsup and Waylon Jennings had not given up their seats on that flight.

One door closes, another opens.