Thanks to my friends at GIANT NOISE MEDIA, I was able to ask a few questions and  get some good answers from Reenie Collins, executive director of HAAM. THE AUSTIN DAZE LOVES HAAM! WE BOUGHT   OUR TICKETS TODAZE!image

AUSTIN DAZE: Why is HAAM such a beneficial thing for musicians in Austin?

Our city takes great pride in the fact that we are the “Live Music Capital of the World”. To this end, Austin boasts over 8,000 working musicians who imagebring in over $2 billion in economic activity annually to Austin. Musicians are very important to our community – not only culturally, but economically. The majority of these musicians are among the “working poor,” without the ability to purchase health insurance or afford even basic health care. Over 82% of Austin’s musicians fall under the 150% of Federal Poverty Level (FPL) guidelines meaning that a single person would earn $17,000 or less a year. The mission of Health Alliance for Austin Musicians (HAAM) is to provide access to affordable, quality healthcare for Austin’s low-income, uninsured working musicians, with a focus on prevention and wellness. By providing these safety net services HAAM enhances musician’s quality of life, in turn, enhancing the economic development of Austin. Since its inception, over 3,500 Austin musicians have received HAAM services and been provided with over $30 Million dollars in healthcare services.

AUSTIN DAZE: Tell us about what HAAM is and why it is so important for us all to support it.

Before HAAM, many musicians were not taking care of their medical, mental or dental health at all and instead would wait until, what could have been easily treated or prevented situations, turned into more costly and dangerous conditions that would then be seen by using the emergency room as their primary, and often only, source of care. The creation of HAAM changed that. HAAM is not insurance and it is not a provider – rather a community collaborative that facilitates access to effective medical, dental, mental health, hearing and vision health services. While the Affordable Healthcare Act (ACA) will provide much needed insurance coverage to those who are eligible, over 60 percent of HAAM members are not eligible for ACA because they make less than 100% of FPL. HAAM is still going to be needed to provide healthcare services for these musicians. For those that do opt to purchase market place insurance, there will still be dental, vision and hearing services which are not covered by ACA.

AUSTIN DAZE: Tell us about HAAM Benefit Day.


This is our 9th annual HAAM Benefit Day and to be honest, it like putting on our own mini SXSW! We have over 250 participating businesses and over 150 musical performances all over Austin. HAAM Benefit Day is sponsored by Whole Food who has been with us since the very first one. John T. Kunz – who is a member of the HAAM Board and owner of Waterloo Records – and Robin Shivers – our founder – actually came up with the idea as a way to raise both money and awareness about HAAM. HAAM Benefit Day now brings in almost a third of what we raise in a year! It is the one time of year, we ask our HAAM musicians to give back and they come out in full force; we always have more musicians than spaces to play. What a great challenge to have! HAAM Benefit Day 2014, on Tuesday, September 23, is a uniquely Austin event where businesses across Austin donate to HAAM in support of musicians’ health. Musicians perform throughout the day at businesses, retail stores, outside stages and more. Kicking off at 6am and running until well past midnight the day serves as a city wide celebration of Austin music and the community that supports the amazing musicians who call Austin home.

Donations during HAAM Benefit Day go even further, every dollar raised turns into $7 in direct services is provided to Austin musicians, who wouldn’t otherwise have access to health services that HAAM provides.

Over 200 Austin businesses participate in HAAM Benefit Day; including Whole Foods, SXSW, C3 Presents, Silicon Labs, Keller Williams, Frost Bank. HAAM Benefit Day enjoys strong local media partners that ensure that we have great coverage not only the day of the event but in the month leading up to it as well. Emmis Stations KGSR, 101.X, The Austin Chronicle, Do512, as well as other television and print media strongly support HAAM Benefit Day. For the past few years HAAM Benefit Day has attracted national and local media attention and even trended on Twitter! We are hoping to raise $350,000 this year! So every dollar counts. It is amazing to see how generous Austin is. All over town you will see our Gray Donation Boxes and just on that day alone we get over $25,000 cash from music lovers.

AUSTIN DAZE: What can we expect from HAAM Benefit Day and All ATX at ACL Live?

A rockin’ good time is what you can expect! Music, music and more music. All over Austin. As we mentioned, we have over 150 Live music performances on HAAM Benefit Day all over town. There are too many to list here, but you can download our free APP haambenefitday and see all the artists and where they are playing. You can sort by type of business if you want to find out who is giving back to HAAM on Tuesday or you can sort by area of town or type of music or even by a specific artist. It is really a cool app and we are hoping that people will use it and find out where they can support HAAM. We start the day out at Whole Foods Downtown at 6:00 am with Elizabeth McQueen and from there the day just gets better and better. KGSR is doing a live remote with us there that day and I will say that you are in for a surprise “KGSR speical guest” who will be arriving about 2 pm! But we have music going from 6:00 am – 2:00 am. There is probably not an area of town where you won’t find a HAAM show somewhere ranging from bank lobbies to restaruants to office buildings and all the Whole Foods Markets.

All ATX is also going to be incredible. This is the second Annual concert benefiting HAAM. Some of Austin’s best along with special guests Eric Burdon and The Animals and The Zombies will be playing songs from The British Invasion. You will hear songs by Alejandro Escovedo to Ian McLagan to Bruce Robison and Kelly Willis to Ruthie Foster. We will have Quiet Company, Christopher Cross and many more take the stage on Monday night. I think it is going to be a really special show mixing in some of Austin’s best with these music icons from across the pond. We are very grateful that for the second year in a row, All ATX has come out in support of HAAM.


Sundaze Conversations #4: Josh Perdue

imageGet to know Josh Perdue with us. We sat down with my friend at the swanky new bar/dining are at Hotel San Jose. This is really a nice place. It was very hot that day. My brain melted during this interview. It was all I could do not to throw myself in the pool.The team this time was John Grubbs, Caity Shaffer and I. We had a good time with Josh. He earned the nick name ACDC during this conversation. Josh is just an amazing guitar player. Josh is on the way to becoming a legend. Get out there and see him in action. He will blow your mind! You can see him play with the Lost Counts at Sullivan’s Steakhouse every Tuesday and Wednesday from 7-11 and he usually shows up at the Gallery to play for the late night set. (Transcribed by Alexis Matthews)

Okay {laughter)

Josh: Is this like, is this like, an interview? Oh Yeah.

Austin Daze: When did you get started playing guitar?

Josh: Um… Let’s see… I had a Mickey Mouse guitar when I was about five, I guess… I started playing that around fourth grade I was in band, and I was tall enough, I was the tallest in class, so they told me to play upright bass, so, I got serious around 8, 9, something like that.

Austin Daze: Wow. Cool.

Josh: I got addicted. I got the bug.

Austin Daze: Where are you from?

Josh: I am from Arlington, Texas. Dallas/Fort Worth area. The new home of the Cowboys.

Austin Daze: Who were your biggest influences when you were a kid?

Josh: When I was a kid? My dad’s band. They kinda got me started with it. Um, ACDC. {laughter}

Austin Daze: Yeah. That’s cool.

Josh: Let’s see…

Austin Daze: Your dad was in ACDC? Awesome.

Josh: He was in ACDC, Yeah.

Austin Daze: Wow.

Josh: No, my dad had a 12 piece band, like, rhythm and blues, Motown show band when I was growing up. I was always hanging around them when they were practicing; so, while he was in the garage playing his guitar, I’d go in his closet and get his good guitar out–the one I wasn’t supposed touch, secretly but… {laughter} Secretly… I didn’t tell him. And so I could play one day. He was like, “When did you learn how to do that?”

Austin Daze: Who else did you listen to besides ACDC?

Josh: Um. I listen to a lot of Freddie King, Ray Charles, Jimmy Reed, you know, all the blues guys. My first concert was Hall and Oats. I was a big Hall and Oats fan. A lot of that stuff.

Austin Daze: Where did you see Hall and Oats?

Josh: I saw them at Reunion Arena. Yeah. Even with binoculars they looked very tiny, I was WAY in the back, … it was still great.

Lots of blues guys, I listened to a lot of Stevie Ray Vaughan. And Jimmy Vaughan. I am a huge Jimmy Vaughn fan. Still. To this day. Still. Mr. Class. He’s very classy.

Austin Daze: Let’s see… So… your from Arlington

Josh: Yeah.

Austin Daze: So… One of the main questions we had was about your relationship with Robert Walter.

Josh: Uh huh.

Austin Daze: So, who hooked you up with Robert Walter? How did you become acquainted with him?

Josh: It was a combination of two different people, Barbara Prashner and  Anthony Farrell from the Greyhounds. Anthony kinda hooked me up. Robert was coming into town and was asking Anthony who he should use for a guitar player and he suggested me because Anthony knew I loved all his music and I knew a lot of it, so, it was a good little fit.

Austin Daze: How did you prepare for your first gig with him?

Josh: Um, I just studied the music over and over and over. Well, I got a little process, before I even pick up a guitar I just listen to the songs over and over and over, get em stuck in my head, and then, teach my hands how to do it, pretty much. Same process I’ve been using since I was a kid, so… if it ain’t broke, don’t fix it. {laughs}

Austin Daze: Are you also a guitar teacher?

Josh: Yeah I teach private guitar, bass, vocals at um, Austin School of Music (North location).

Austin Daze: How long have you been doing that?

Josh: I’ve been doing that, for about, I guess, five years… so, yeah, I’ve got a bunch of students up there I teach. Just got finished doing the Rock Camp, which is all summer long, so that was really fun. Get to teach those kids how to be in a band and they get to play there gig, usually at Antone’s, but since Antone’s is closed, we did the Roost, so that was really fun. Very Rewarding.

Austin Daze:Do you have any stories from Rock Camp? Did you have a stand out students?

Josh: I have several there that just really really blossomed, this summer, and yeah, that’s just one of the greatest feelings, ever. Just like, I can only imagine what it would be like if that was your own kid, yeah so, that was pretty cool. Yeah, let’s see Eric Bitner, K.J. White. They are two up and coming guitar students, they are really getting in there, so.

Austin Daze: Who do you listen to now?

Josh: Little Walter {laughs} I listen to a lot a lot a lot of Little Walter, uh, Brewer Phillips, I listen to a lot of him. He was Hound Dog Taylor’s guitar player. I listen to a lot of Doo Wop, I love the fifties and sixties music, so I love all that stuff. I love all that Dap Tones stuff too, I am a big fan of of them like Menahan Street Band, Budos Band, Sharon Jones, Sugarman 3, love them.

Austin Daze: So specifically, what are some of your favorite albums?

Josh: Some of my favorite albums? Um… there is one band from the UK that I’m really really love and its weird because I like all the songs on all of there albums, which is rare for me to like, um, they’re called The Bees. They are really good. They’re sound is kinda like Indie Rock a lil bit. Everything I like about music they seem to mold into this beautiful package and sound so, I really dig that a lot.

Also, The first two Thunderbird albums are really good. The Fabulous Thunderbirds.

Austin Daze: I don’t know if I have any genius questions, I saw, somebody posted like, if you could play with anybody living or dead… someone that you really don’t have an opportunity to play with now, but if miracles and strings could be pulled, is there somebody you would really like the chance to play with? Or would have liked the chance, like I say, they don’t have to be living.

Josh: I’d really like to play with Jimmie Vaughan.

Austin Daze: Dude, so let’s make that happen. So We’ll call up Jimmie now. Hey Jimmie! Hey Jimmie! I think that can & should happen, sure!

Josh: I’m a HUGE Jimmie Vaughn fan, like all my guitar player buddies we go and see him and our mouths just open, I even ask them, I’m like, “Do y’all feel like lil kids when you go see him play?” It’s like yes, it’s beautiful. He’s just got this huge bag of tricks that he never pulls from, and every once in awhile he’ll pull from it and it just gives all of us chills. I just love that. Yeah, I’m a huge fan of his. I’d like to meet Paul McCartney one day. That’d be cool. I wouldn’t know what to say to him though… fellow Gemini…

Austin Daze: You know Jimmie? I mean, you know, ask Paul, hey, you know Jimmie?

Josh: I play with a lot of the same people he does, got booted from a couple of gigs that I was supposed to sub for because he showed up at the last minute. That made me feel good a little bit, and bad at the same time.

Austin Daze: How did you get involved with Chicken Strut?

Josh: Uh, Bobby Perkins. I was living with Bobby Perkins and the original guitarist and then they parted ways. I just happened to know all the songs that they played, I was right there so they ask me to come in, started playing with them, been playing with them ever since.

Austin Daze: What about Golden Dawn Arkestra?

Josh: Golden Dawn, um…, I started playing with Topaz with Bobby Perkins and Mudphonic. They called me up to sit in,then Topaz started a couple of other projects. He had me on guitar, and then slowly morphed into Golden Dawn. So.. {laughs} just been hanging on to that ride, that train for a little bit. Very very fun band to play with.

Austin Daze: So, for everyone who hasn’t seen Golden Dawn, can you describe, what is that experience?

Josh: It’s like Sun Ra meets Fela Kuti meets seventies disco. Something like that. I call it Texas Afrobeat, if there is such a thing. {laughter} I think it’s kind of funny. It’s fun, it’s just fun, I call it a good time because it’s some of the best musicians in Austin all in one band. All my favorites and then, you know, we just get up there and have a good time… and people seem to like it so

Austin Daze: People like a good time

Josh: Oh yeah

Austin Daze: It’s underrated sometimes people look for perfection or superior musicianship, you know, and those things are good, don’t get me wrong, but when they don’t bring that fun, good times

Josh: Oh Yeah.

Austin Daze: then there’s something lacking so you can hide a lot of stuff, uh, with good times, because people enjoy, that’s what, in the old times, the band was the party central, they would create the party and sometimes people turned the party into a concert, it’s not the same thing.

Josh: We like to make em dance. That’s kind of our goal. Sometimes I pretend my guitar is a remote control, like a body remote control {dinga-dinga-dinga} and I play a little lick, and try and make someone’s shoulders move.

Austin Daze: Does it work?

Josh: It does sometimes! It’s kinda funny that’s why you’ll see me staring at some people sometime like {dinga-dinga-dinga} playing something odd, and see if they shake to it. It’s kinda fun man. I like it.

Austin Daze: What about your costume for Golden Dawn? Where did you get it? And why did you choose it?

Josh: Which one of my costumes? I have a habit of leaving my costumes at the gigs.

Austin Daze: Oh really?

Josh: and then trying to go back the day after and they’re gone… so… I just did it this last gig too, but it was recovered safely, so… That was kind of a combination of Laura Scarborough and Topaz’s idea and uh, Echo, she had a big involvement in that too, it kind of, doing the Sun Ra thing, a little bit, kinda dress it up, space men thing, you know? It’s fun. It’s hot up there too!

Austin Daze: It won’t be summer forever.

Josh: No, we’ve been very lucky, at least it’s not 2011!

Austin Daze: Have you seen Sun Ra in concert?

Josh: I have not. That would, that would definitely be an experience.

Austin Daze: {laughs} yeah. Let’s see… you’re in a band called Lost Counts?

Josh: Yeah, that’s my main band, the Lost Counts.

Austin Daze: Can you tell us, kind of, how it got started? And where you are going with it right now?

Josh: Well, I had a band with Greg Rhodes, he’s the bass player for Golden Dawn, he plays in Mudphonic, and the Avocados. The Avocados play here, like on Tuesdays. We had a band called Honey Bread; it was me, Greg, and Johnny Radelat. Johnny plays with Gary Clark, Jr. now.  Bobby kind of parted ways with Mudphonic, then they stole my bass player, they stole Gregg from me. So, I found Nathan Basigner, my organ player, he moved into town, I found him on Facebook. Said, “Hey, you want to get together and jam.” We’ve been a band since. It started out with me on guitar, Nate Basinger on Organ, Nick Stephens on sax and Johnny Radelat on drums. Then… Gary Clark Jr. stole my drummer, they stole Johnny from me, {laughs} so now he’s touring with Gary and now on drums we have Bobby Trimble who I grew up listening to. He was in a band called Big Sandy and the Fly-Rite Boys. I heard he was in town, he was living here, so I called him up, said, “Hey you wanna be in the band?” And we’ve been playing since. The hits of the fifties. {laughs}

Austin Daze: What advice would you have for a musician just starting out?

Josh: Listen. Listen. Listen. Listen. Listen. Listen.

I mean, like, like really really listen. Because there is so much stuff, in one song, that most people like miss, you know, because it’s just for enjoyment, if you’re studying something, if you saturate your ears enough with it, you’re going to pick it up, you know? If you want to learn Spanish move to Spain, you know, kinda thing. And be respectful to other people. Be the yes man, you know? I was talking to Frosty about that the other day, um, and he was like, I didn’t get to be where I am at today and still playing because I’m good, it’s because I’m a ‘yes man’ I say, “I’m here to do my job that you want me to do.” So… Just be nice, and be cool, and don’t bring you’re shit to the stage. {laughs}

Austin Daze: That’s good advice

Josh: And and and just love it. Let your heart come out.

Austin Daze: How can you be rock and roll if you don’t bring your shit to the stage? That’s what it’s all about!

Josh: That’s right! That’s right! That’s right! I’m trying to change the mold. At a very young age I started noticing

Austin Daze: Rock and Roll people quite often, crash and burn too.

Josh: Oh yeah…oh yeah.

Austin Daze: With their shit on the stage.

Josh: I’ve always felt like that. I’ve always wanted to kinda like, change the game a little bit. Because I started noticing, at an early age, that all my influences are alcoholics and drug addicts, and just old blues men, and stuff like that, like, I wanna do that without all that stuff, so…

Austin Daze: I don’t know if it’s across the board, but it’s true for, a lot of this generation of musicians, is that they don’t have all the same troubles as the seventies rock and rollers did.

Josh: Oh no. No. They don’t.

Austin Daze: Some do. But, a lot of them just didn’t have that as part of their deal.

Josh: Right.

Austin Daze: You know like the stories of the Beatles, where they were like, before the, the dope and the acid and stuff, they were just doing pills and amphetamines and drinking crazy amounts of alcohol.

Josh: Oh Yeah

Austin Daze: Just to fuel their drive, and so like, some musicians, I’m not saying all musicians are pure now, but a lot of these younger kids, they stretch, they do yoga, they eat right.

Josh: Oh yeah.

Austin Daze: Vegetarian food and then they go home and they’ve studied all the the music, and so that they bring a different slant to it I guess. So, I’m glad you’re not going to fall apart tomorrow…

Josh: Good. Yeah, me too. Yeah, it’s a different time then it was back you know, back in the day. I was reading somewhere the other day about Brewer Phillips, mentioned earlier, who played with Hound Dog Taylor, he was telling stories about him and Hound Dog used to argue all the time and they’d get in a heated discussion, and you know, Hound Dog shot Brewer, like, three times, like on separate occasions  and stuff like that.

Austin Daze: You’d think you’d learn eventually!

Josh: Yeah! Like, you were still playing with him after he shot you three times. Huh… That’s devotion or something. {laughs} I hope my band members don’t shoot me.

Austin Daze: Some of those things are pretty tragic too, just like, beyond the…

Josh: Oh yeah

Austin Daze: …complete, disintegration of the person, someone super talented like Charlie Parker, for example. Just a tragic, tragic story, to channel that tragedy to play great music… So, glad you don’t have to channel that great tragedy to play great music.

Josh:  Oh yeah, he’s a big, Charlie Parker is a big, big like focused, slash practicing method had a big influence on me. I love his music, and I love his Be Bop lines, and I’d love to learn em legit one day but… I wanna, I wanna poster of Charlie Parker. My walls in my room are blank, and I just want one poster of Charlie Parker staring me down, so I know I need to practice (laughs) He would practice, like, 13, 15 hours a day. Like, that’s insane.

Austin Daze I saw some documentary that had some great footage of him, just doing something, that was, I don’t know, you could see it, he was one of those people that music just kind of seeped out of seemed like…

Josh: Oh yeah. Well, he was a very humble guy man, and he invented this style of music and he didn’t think anything was like, that different or that great about it. He was just like, this is what I think it should be you know, so this is what I’m doing, you know. Just an amazing influence, you know.

Austin Daze: You don’t play Bossa nova, or do you play Bossa nova?

Josh: Um, yeah we play a lot of, we kinda play like, soul Bossa type stuff in The Lost Counts. In the Lost Counts we play all kinds of stuff, we’ll do like early Ska, rock steady, fifties and sixties R&B, we’ll do some swamp pop, we do all that stuff too. So… it’s fun.

Austin Daze: I think we should all go jump in the pool!

Josh: Yeah!

Austin Daze: Well, we would make a scene. Speaking of Rock and roll, that’s kinda a rock and roll thing to do.

Josh: It is. We need a TV to throw in there, or a desk or something. That would be super rock and roll.

Austin Daze: That would be a cool, just have a TV, and a student desk under water, and you’re down there, in like a little scene, holding your breath, or just have bubbles coming out…

Josh: You’re on the phone…

Austin Daze: Let’s do it. I’ll go buy an underwater camera. We’d have a great time.


We’d need some weights, cause, it’s hard to stay underwater on the bottom.

Josh: {laughs} yes. I’ve heard it’s kinda hard to breath under there too.

Austin Daze: Is there an underwater make-up specialist in town?

Josh: Oh, mercy.

Austin Daze: Man, thank you man. Thank you for doing this.

Josh: Oh, thank you, I hope I’ve had some good information in there. {laughs} that was fun.

Sundaze Conversations #3: Ken Hoge

This is the third one. This was an awesome one to be a part of. Get to know Ken Hoge with us. We met Mr. Hoge at SouthPop for a conversation and that led to a privàte tour through his photos on display there… The stories behind the photos are the gold. If you have any interest in music you need to read this. Rockslide and I made a new friend that daze… Thank you Ken.
Check out his work : www.kenhoge.com



Daze: How did you wind up documenting the Austin music scene?

Ken Hoge: I went to UT in Austin and graduated in 1977. I was in Radio-TV-Film. I wasn’t a really good filmmaker, but I enjoyed photography, which I had done in high school. I worked for the Daily Texan at UT, so I was shooting photographs. When I graduated I decided I wanted to go back one semester to take a class in the Art Department with Garry Winogrand who is a well-known photographer.

I was hanging around in Austin and decided to apply for work with the Austin Sun, which later became the Austin Chronicle. They hired me and, pretty quickly, I hooked up with Margaret Moser who was just beginning to work there at the same time. Well, we kind of became a team.

Basically, I would get $5 from the Sun for every photograph I published. We would go out. She would do interviews; and I would shoot pictures. It got to be a lot of fun and, eventually, I got press credentials from the city; so, we went and shot everything. From late 1976 to 1981 when I moved to Houston, that is just what I did—I went out every night and shot photographs and tried to get them published in as many publications as I could. I have about 400 concerts cataloged from that period.

On January 8, 1978, Margaret and I bought tickets for like $3.00 at Joske’s and drove to San Antonio to see the Sex Pistols play at Randy’s Rodeo. I took photographs of that, some of them are in this show. That show changed the music scene in Austin substantially. Within a few months, I shot the first performances at Raul’s, and a huge punk scene bloomed.

In 1981, I had been in Austin for 8 years and decided to go to LA or go to Houston–I wound up going to Houston. I have been doing Scientific work ever since then, but I had this body of work that had been published in lots of magazines, lots of books, album covers, documentaries, VH1, HBO… for everybody who was doing documentaries about the Armadillo, or Antone’s, or Soap Creek, or Austin back in the day, Willie Nelson, any of that stuff.

Daze: How did your show here at the Austin Museum of Popular Culture come about?

Ken Hoge: I have the old blues artists, I have the rock and roll, I have the world music, there’s Genesis, there’s Todd Rundgren. My work runs the gamut from Willie to the Sex Pistols.

I started to get a lot of interest. People would find me on the web and want to publish the pictures; so, a few years ago I went to Fotofest, a big photography festival in Houston that’s been going on for a number of years. It’s one of the bigger photography conclaves in the world.

I went through a process there where I took my portfolio, a large part of which is hanging on the wall here, and had it reviewed by collectors, and curators, and publishers–people from Russia, from Italy, as well as people from Texas. It’s great but it is a really weird experience. You go in this room, and there are 50 tables, and they’ve got numbers on them. They might be curators, or whatever. Before the process you make a list of these people and pick out the ones you want, and they go through a lottery. You get about half the ones you want, and half the ones you don’t. By the end of that process, I’d gotten a lot of positive feedback on the work. So, I thought, “I’m going to go with this. I’m going to share it.”

Daze: So what’s next?

Ken Hoge: I’ve been represented at Wild about Music for 4 years now. I am selling prints through them. I am going to try to carry this show…get as many bookings as I can across the country; and, I am looking at several different book deals.

I feel like I am preaching to the choir here because South Pop is all about preserving the culture that goes back to the Armadillo, sort of, as a core. Those were the days when I was twenty years old, and it was something I just did day in and day out.

I broke this show up into a couple parts. I did this (wall with large contact sheet surrounded by a jumble of left over prints) to show people that…you know, you walk into a gallery and everything is just framed and it’s all so precious. All you can do is go around and look at it; then, you are done. I wanted to make more context for it, so I came up with the idea of blowing up a contact sheet and, then, do all this (points to the prints) to show people that you shoot a lot of stuff, and you edit. Not everything makes it. Back then it would be one picture and I would move on.

I plumbed through my catalog. This photo of Muddy Waters and Angela Strehli right here was taken in 1978. That’s the final print right there on the wall just Ken-Hoge-MuddyWaters_AngStropposite. That was the choice I made, but you can see I had lots of choices. Here is Jimmy Vaughan playing guitar behind his back, while Muddy comes over and strums on it.   But I chose the print because I liked Muddy’s face so much. It’s like a contour map, and he’s just lost in the blues.

It was a magic time in Austin. I know people probably get tired of hearing that if they weren’t there, but it really was. It was awesome. We had so much fun. I was the typical slacker. I managed an apartment complex for free rent. Then I could afford to go out and do this kind of stuff. We had all kind of weird jobs. Margaret worked at Piercing Pagoda in Highland Mall for a while. I was like, “Don’t you have to go to a class or something to learn how to pierce ears.” And she was just like, “No. They just show you how to do it.” She’s in the mall just punching holes in little girls’ ears…but she never had a problem. I worked for the State. Oh, god, I worked in darkrooms. It was horrible because some client would come in with a precious photograph. It would be so hard to print; you’d spend all night to get this cibachrome print which is a nasty hard to do process, and they’d come in the next day and go, “No. no.” And you’d be like, “Shit…”

But going out was so much fun that I’d do anything to keep doing it. I wasn’t the writer, so a lot of times I was just going around taking pictures of stuff, and I didn’t necessarily get to know everybody’s story. I had the pleasure of meeting and hanging out with a lot of people, but I am very visual, so I just had the camera.

Daze: Did Margaret retire, so she could write the stories behind the photos?

Ken Hoge: No, that had nothing to do with her decision to retire. It’s possible, but she has lots of projects to juggle and so do I; so, we don’t know if it will ever come together. But, yes, we’ve discussed it. She has this incredible memory. She can remember the details. She was almost always there when I shot. I hope that comes true.

Daze: There’s that quote, “If you remember the Armadillo, you weren’t there.” If you were there, though, your photos are a cue that brings a lot back.

Ken Hoge: A lot of times I think my memory is manufactured from the photos. I don’t think I ever forget anything; I just can’t pull it up. I’ll have memories sometimes of the most obscure things. Sometimes somebody will ask me a question and two days later, I’ll remember the answer. But I won’t be able to remember a name of somebody I see on a daily basis. I will just blank. That’s just the way memory is. I’ve made my peace with it—I had dinner with a couple of friends the other night who are in my age group, and I took solace in the fact that they shared in this conversation where we all went, “Remember that place where that person was, and we did that thing.” The conversation kept stalling because we’d get to, “Oh yeah, we stayed at…” and we were all going, “What was the name of that?” It was a shared experience. We all have mental overload. All this is in your head, and you’re supposed to remember all these details. Sometimes, though, I think the fact that I took those pictures is the way I have any memory at all of a lot of these events. You remember specific things in your life, but you misplace a lot. Like, “What were you doing, you know, in the summer of 1992?” I don’t know.

Daze: That’s where you need cues, like this photo of the Armadillo.

Ken Hoge: That’s a 360º pan. Mose Allison the famous pianist and jazzy blues artist, that’s him up there on the piano. The Armadillo was a big place. It was an armory. It was huge; I mean it was freaking huge. My flash would barely reach back there. I was standing in about the middle of the room; so, I kind of centered on the stage. This would meet over there (points to either end of the panorama), and you would have the whole 360º.   They have software that can put that stuff together, but I just made a bunch of prints and just stuck it together the best I could.

That was sort of ground zero. I’d gone to the Armadillo three or four years, I came here in ’73, but I didn’t have a camera to take with me. The only camera I had was a twin lens reflex. I shot for the Daily Texan with that, but I finally got a 35mm and that was it…I took every single picture with the same Nikon FM2.

I had a beautiful Beretta 30 gage shotgun that my Dad had given me. I grew up in Waco, and I used to go dove hunting. I wasn’t a big hunter, but I had a friend who had a farm; so, I had frequent opportunities to go dove hunting. I had this beautiful engraved shotgun, and I hocked it to get $200; so, I could buy my first Nikon.   And I shot every picture with that kit.

I still pick up a camera, put it to my eye and, then, have to remember whether it’s a camera I have to look through the viewfinder, or look at this (the screen). I can’t tell you how many times I’ve pulled out a little point and shoot camera and tried to do that.   I have a Nikon D7000 that I love. It’s in the trunk, and I haven’t taken it out in like eight months. I just use my iPhone.

I even use my iPhone at work now doing documentary work for medical studies because it’s so easy. I can take my iPhone, take a picture of that tack from this far away (maybe the width of a hand) and have it come out sharp. That’s really hard to do with regular equipment. You have to have a macro lens; you’ve got to worry about the lighting. Or, you can just take your iPhone and go click. Nine times out of ten, it’s not a work of art, it’s just documentation.

This was serendipitous, this display (points to another collection of smaller prints mounted together in a collage).   I brought my show with me and it had pieces, and then there was this built in display area in the gallery and I didn’t know what to do with it.   I was going to have a photo album that was just stuff that I thought some people from back in the day would like to look at. We were going to put it on a table, so people could flip through it. And then it occurred to me to do this instead which is probably good because it forced me to edit.

Daze: What’s the story behind this photo of Stevie Ray?Ken-Hoge-4-78-SRV6th1000-p

Ken Hoge: That is one of my favorite photos. It’s in front of OK Records which was next to Cat Man’s Shoe Shine Parlor and the original Antone’s on 6th Street. You can see the Driscoll Hotel reflected in the glass. OK Records sold all the old blues records, Freddy King, Chubby Checker, Fred McDonald, Albert King.

Margaret was writing about the Vaughan brothers, so we took them both down there to 6th Street, which was the blues scene hangout, for photographs. Stevie and I were both 22 years old when I took that picture. Sometime in the ‘90’s, Sony Records put out a compilation of SRV recordings called Blues at Sunrise. They used that for the album cover. That was probably the most widely seen picture that ever I did.

Daze: Do you know who this is in the refection? Is that Margaret?

Ken Hoge: She is just standing to my right over here. You can see her outlines. That’s her head. She’s holding my camera bag or something. In fact, that’s an apt metaphor for the whole show because Margaret and I got married in ’78, I guess it was, and were married until ’83. That relationship opened a lot of doors for me, and once those doors were opened it was fun. She got us in, every show. It made it a lot easier to take interesting photographs.

Eventually, I did get press credentials, but she helped a lot. There were always shows that were like touring shows, the bigger names, that might have some restrictions. Having a press card got me past that. That was a big leap, and once I made that leap, I got access. And I took advantage of it.

Daze: What was your favorite show?

Ken Hoge: You know, that’s a toughie; but, the show that changed my life more than anything was the Sex Pistols. There’s the print from that show. I was right in front of Sid Vicious. It was a bowling alley; and, then they turned it into a country western nightclub. The marquee on the nightclub said the Sex Pistols tonight…Merle Haggard two days later. We’d never been there, you know. We drove to San Antonio for it. It was the craziest thing you ever saw. The thing I came away with was it wasn’t just a concert; it was performance art. They deliberately came out and insulted the crowd, provoked them. The crowd started participating. They started throwing things at the band. You can see there’re pieces of whipped cream on his outfit here; you can see where things have splattered there. Everybody was throwing empty beer cans at the band. In fact, at one point, somebody hit Sid in the head with a half full beer can. He got pissed, took off his bass, and stated raking it over the crowd. I was about this far away, just out of reach.

Ken-Hoge-SexP_1-8-78-1000-pThey stopped the show and there was all this hubbub, and Johnny Rotten looks over and says, “Oh, Sid dropped his guitar.” There was general mayhem, but believe it or not, they settled the crowd down…Sex Pistols came back out, and they finished their set. They didn’t really play worth a shit; but, I’d heard Never Mind the Bullocks, Here’s the Sex Pistols, and I loved that album—I still love that album. It’s one of the best albums ever made. I knew the songs in my head, what they were supposed to sound like, so I didn’t mind that they could barely play. It was performance art.

Six months later at Raul’s in Austin, it was the same thing. The Huns came out, and they would slash the banner behind them. It would be Jesus on a cross…all this really provocative stuff. Audiences would start throwing things at them; and the band would come out and go at the audience. It was participatory. It was all kind of a put on. Until I saw the Sex Pistols, I thought you go, and you are an adoring fan, and if you are lucky, maybe they’ll look at you, you’ll get a guitar pick. But this was different—at any moment chaos could have broken out, holy shit could have gone wrong. So, it was very exciting.

Groups like the Uranium Savages, I hung out with them. I took a bazillion pictures of them back in the day. People would dress up and go to the concert like it was Halloween—everybody dressed up. Whatever the occasion was, they turned it into a costume ball. Everyone participated. That was really cool. I was really attracted to that.

That was the big impression, that one concert. I bought a book once called the 50 concerts you should have attended, and one of them was the Sex Pistols in San Antonio. That’s the only one I attended, but I was like, “Yes! I got in the book. I was there.”

One other time that made a big impression on me was Townes Van Zandt. Margaret and I went to interview Townes Van Zandt and, as it happened, it was in Houston. I had family in Houston, so we decided to make the trip to see him at Liberty Hall. We got there that afternoon, we sat around with Townes, and I shot like three and a half rolls of film with him back stage, just passing the time. We got totally blitzed. This guy liked to drink vodka, so he is swigging vodka out of the bottle, smoking dope. By the time he went on, we were so plastered I only took three pictures of the performance—really bad pictures. But we had so much fun interacting with him; that’s one of my favorite photos, that portrait of Townes. I shot a whole lot of pictures that didn’t work, but I just love that portrait. It’s not posed at all. He just was there, and I was shooting.

Daze: What is this display about?

Ken Hoge: It’s a memorabilia wall that was really popular at my last show, so I decided I want to continue to do it. This is what my bedroom wall looked like at the time. Didn’t everybody, when they were young, stick the posters on the wall? Well, this is pretty much what mine looked like. I used to make posters sometimes. Here is a Raul’s poster we distributed on the drag. There’re song lists, there’re the old tickets, the old buttons, backstage passes. A lot of these posters were my photography, or somehow I was involved—I was at the show. Or sometimes it’s just zeitgeist stuff, like Bob Dobbs. Do you remember Bob Dobbs’ The Church of the SubGenius? You need to look up Bob Dobbs.

Daze: So when the poster artists made a poster, they would call you and say, “Do you have a print?”

Ken Hoge: Yes; or they would maybe ask me to come and shoot promotional work.   That’s the Neville Brothers up there at Antones, they asked if they could use that. I shot a lot of stuff of the Judys, the Uranium Savages, the Cobras. This is the B-52s backstage looking very bored, which is why I love that photo. They just look like they couldn’t care less. They did a great show that night at the Armadillo. I wanted to put stuff up so you could linger a little bit, and maybe find something of interest in all of this…a context for the pictures.

Daze: The people that come tonight will bring a lot of context, their own context.

Ken Hoge: That’s what I mean about preaching to the choir. I feel very honored to do the show at South Pop because these are the people who were around when I was enjoying this time in Austin. They were good times. I really don’t have any tragic tales. We were poor as dirt and skinny as hell, and twenty-two years old. You know, life was good. This is a picture of Margaret Moser and me about the time we got married. It was fun to hang out with her because she knew everybody. She had a way of getting us into any situation.

About the only negative thing that ever happened was I went to a Patti Smith concert once at the Texas Opry House. There were a lot of people there. This was when she was at the height of her popularity. Here is the ticket stub right here, July 1979. I positioned myself on a chair in sort of like the mosh pit area, there wasn’t a mosh pit, but in that area where that would be. I was over a little bit towards stage left. I couldn’t move because I was surrounded by people standing.   There was this huge bank of speakers on either side of the stage. And, she cranked that music up louder than any concert I ever heard. I didn’t remember to bring earplugs; and I was stuck there for the entire show, like ten feet from these speakers. I held my camera against my head to try and protect my ear. It was agonizing.   For at least two weeks I felt like, you know after you mow the lawn you have this buzz in your head?   It was like that. I blame her for my like 60% hearing loss in my right ear to this day. And, I didn’t forgive her for over twenty years. I finally forgave her when she put out an album I liked, Trampin’, and I thought, “Oh, I’ll let bygones be bygones.” There’s no reason to play music so loud that people’s ears bleed. But she did, and I guess it was kind of a punk thing. I know I have permanent hearing loss from that.

Daze: The show is called Man on a Mission, is that a reference to the mission you had when you went out every day in the ‘70s and ‘80’s?

Ken Hoge: That’s exactly it. Actually, the gallery came up with it, and I had to ask them what it meant too. That’s not unusual. The same thing happened at my show in Houston. It was an official Fotofest show, kind of like a dream come true for me because I had gone through that Fotofest process where I was judged over and over again.   I decided okay I think I got enough validation, I’m going to go ahead and push this.   But, they came up with the name for it, and it was called “A Day in the Life.”   And I was like, “Okay, you know, that works.”

When South Pop asked me to do the show, they knew my work; and, that’s what they decided they wanted to call it. What it refers to is that I was trying to shoot everything that was going on. I talk about it in my artist statement that the camera was my ticket. I got to where I’d get access to go back stage or something. I didn’t feel comfortable unless I had my camera there and was taking pictures. As long as I was doing that, I was cool, I had a place; but, a lot of times I was too embarrassed to talk to people. I wasn’t one of these real pushy, go up and try to chum with everybody guys… and it is the same thing in my current work.

What I do now is for the Texas Heart Institute. We do advanced cardiovascular research.   We’re working on artificial hearts, mechanical and biological hearts, stem cells, and all these things. I have to go in and move among these people. I can be sort of like a Red Cross person in a war zone because I’ve got an anesthesiologist, and surgeons, and nurses, and people to run the heart lung machine, and people who do all these other support services, and they’re all dickering with each other over this case or whatever it is. And I get to kind of float through like I have no rank, I’m just sort of there.

If I play my cards right, I get good access and people ignore me because it’s cool that I’m there. The trouble is if you come in and you don’t fit, if you interrupt or you bother the process; you don’t get good pictures that way.

When you see a good documentary film, you always sit there and wonder, “How did they get the people to ignore them?” I’ve seen wonderful documentaries that are so intrusive; and yet, it’s like the cameras not there. Well, that’s what you have to do. You have to get to the point where they are so comfortable with you that they don’t even look at you, and they forget that you are there.

Part of being ubiquitous when I was shooting music was people just started waiving me through when I’d show up at the Armadillo. People knew who I was, and why I was there; so, they’d ignore me backstage. I went through gauntlets at the beginning. “Who are you? Why are you here? What are you doing? Who are you taking pictures for?” But after a while, nobody asked those questions anymore. I learned to just stay out of the way and take pictures. I just think that’s the way. That was the accomplishment, honestly. It wasn’t so much the pictures although thank god I was able to take what I think are good pictures of that time. It was getting access and being part of it. That was the big deal.

I just wanted to be part of the scene. My role was as the photographer.



Sundaze Conversations #2 Alex Marrero

Get to know Alex Marrero with us. Alex is currently exploding all over the national music scene as the frontmàn for BrownSabbath. We sat down with my old friend for a few words at 7 flags Coffee.. The team this time was John Grubbs , Caity Shaffer and I. Thank you to Alex and my team for helping me continue to do this. Here is #2:



Daze: What was the first instrument you learned how to play? Was there any influence in your family to be a musician?

Alex: The earliest memory I have is of singing. I’ve been singing since I was about two years old. That’s probably the first thing I ever did, musically speaking. I don’t really have any other full time musicians in the family, but my mom is a great singer and there was always Cuban music playing in the house. She never had a chance to pursue it, but she sings beautifully. When I was thirteen I asked my parents for a drum set and they gave me a classical guitar. So, it worked out well in the sense that I learned how to play guitar and was able to sing and write songs. Then I got into heavy metal and got into being a shredder guitar player (not that I succeeded, mind you) when I was about 15. Then when I was 22 or 24 I put the guitar aside for a few years to focus strictly on learning drums and percussion.

Daze: What kind of guitar did you start on?
Alex: It was a cheap nylon string guitar and I still have it. It’s at my friend Pablo’s house! I taught myself, I never had any lessons or anything. I started with acoustic guitar and then graduated to the electric a few years later when I started playing in bands and recording in Mexico City as a teenager.

Daze: I’ve known you a long time. Everybody tells me not to ask you about this, but I want to hear from you: what happened to Ghandaia (gahn-die-ah)
Alex: (Laughs) They’re right! It just kind of ended, man. I put everything I had into that project for a very long time, as you know. It’s just hard to maintain something like that for so long. Eventually folks make life choices and we went our separate ways. But by the time one specific person left the band, I didn’t want to continue the project in that particular way. I felt that what we had built was made together. Frankly, I was burnt out. I’d spent years running the band and all those months working on producing the second record—which is amazing. It’s kind of heartbreaking because it never came out (although it’s up on youtube, Ghandaia: Evolucion). I think it’s a great record, I’m very proud of it. The project just died, so I secluded. I was exhausted and heartbroken. So I dove head first into the drums, full time. That was my therapy, you know? Just traveling the country and playing the drums with Topaz/Mudphonic, playing with amazing musicians everywhere and growing a lot as a musician myself. That was an amazing experience. I have some regrets about the Ghandaia thing but I’m at peace with everything that happened. Everybody gets along now and it’s an interesting & very important part of my musical history.

Daze: It’s something to learn from.
Alex: Absolutely. I learned a great deal. Things happen for a reason and we don’t always see why they’re happening when they’re happening. We don’t understand. That’s why bad experiences are there; to make us better, to make us grow.

Daze: From those days, I knew you as a frontman. Over the past many years, I’ve seen you in the back playing drums. What does it feel like to be a frontman again and which do you like better?
Alex: The drums are my favorite. Every instrument has its own vibe; the voice is a very unique thing that comes right out of your body and allows you to connect with people right away. People respond immediately to the voice. With rhythm, people respond in a more visceral way. It’s more instinctual, more primal. When I’m playing music I aim to be in that zen moment, completely away from everything. It’s about getting to a place where I’m in between consciousness, that place where I’m here but I’m not here— for me, that happens on the drums quicker than on any other instrument. So I cherish it. I mean, the guitar is a great instrument too and a great tool for songwriting, especially if you sing also. It’s just a fantastic way to express emotion in a way people can relate to. But with drumming I don’t have to be in the front. I don’t have to be trying to engage an audience. I can just play and I’m still in control. The drummer is a fundamental part of the band, the heartbeat. If I stop, the music’s gonna stop (for the most part). Yeah, I’m kind of a control freak. So, to answer your question, the frontman thing is definitely amazing as well, just in a different way. This whole experience [with Brown Sabbath] has been incredibly fun because I get to be this larger than life persona. I get lost in the character. But where it’s at for me musically is still mostly on the drums.

Daze: Do you ever get to that level of subconsciousness when you’re singing?
Alex: Yeah, but in a different way. Those moments are a lot shorter and fewer in between, because everyone is kind of looking at you. For example, in Brown Sabbath, I’m trying to rile everybody up and it’s all about an immediate energy exchange, rock n roll style. There are times when I can block that all that out and just be in the moment singing and experimenting with my instrument. I’ll reach some of those vocal/musical peaks and people will connect with me and that’s amazing. But there’s just something about being in the back, closing my eyes and being in that place for extended amounts of time. When you open your eyes and you’ve forgotten where you are because you’ve been lost in the music and in the moment. You express yourself without thinking, and that’s beautiful. It’s spiritual.

Daze: Are you going to bite the head off of a bat?
Alex: No, never. Ozzy didn’t intend to, either! He thought it was a toy. He bit into it and found out it was real, then had to get a bunch of rabies shots into his gut for weeks after that incident! It ended up being a great PR move but he didn’t plan it.

Daze: Tell us about your gig at the Continental Club Gallery and with whom else you’re playing with.
Alex: I’ve been invited by my friends in the Kalu James Band to play percussion up there on Monday’s. It’s a great scene up there on Monday’s too. It’s such dynamic music. Kalu’s songs are beautiful and they have a lot of dynamic range and different influences. It’s great for me to bring all sorts of percussion toys and just fit within in the cracks and add to the mood of songs. That’s another beautiful part about percussion. You get to approach music from a whole other perspective a lot of times. Especially if you’re playing soul or pop music or whatever, you’re adding texture and vibe. Whereas Latin music, you’re part of the foundation of the music. It’s interesting. I’ll be there on Monday’s when I’m not on the road. I sit in a lot on Wednesday’s too with Snizz & Friends. I’ll sing or El John will let me sit in on percussion. Fun nights. I also play percussion and sing back up’s for the amazing Nakia whenever possible, it’s a fantastic band and Nakia is a hell of a singer and frontman. I also play drums with a great guitar player from Amarillo named Cody Jasper. It’s a few of the guys from Kalu’s band, really good stuff. We’ve been playing the Continental every few months. I’ll be going to Norway with him in September.

Daze: We read the bit about Brownout/Brown Sabbath on NPR, so we know how you all came together to do Brownout/Brown Sabbath. But can you tell us how you got involved?
Alex: It’s pretty funny, because I’ve known those guys forever. Ghandaia and Grupo Fantasma started at the Empanada Parlor at the same time. I still play with those guys in other situations. I heard about the gig at Frank when they said they were having a different theme each week and the last one was going to be “Brown” Sabbath. So I called them and said, “Hey, I’d love to sing War Pigs.” And the answer was, “Ooh. I don’t know, man. There are so many singers who have come forth. I don’t know if we’ll be able to fit you in.” I said: “It’s all good. Just throw my name in the hat, if I can sing a song, great. If not, no big deal.” That was that. Then a week before the show, I ran into those guys and they said: “Hey, uh… so… do you still want to sing War Pigs?” I told them I would. Then they said, “Can you sing Sweet Leaf and the Wizard too?!” I asked what happened to all the singers and they said everybody fell through. It was pretty funny. Worked out well, I think!

Daze: Is Brown Sabbath planning to write original material?
Alex: Brown Sabbath is just this kind of alter-ego project. Brownout is the main band and it has existed as an entity for about ten years. Brown Sabbath just kind of happened and people reacted to it. There was interest from Ubiquity Records to put out a record, so we’re in this fun ride of a project right now. The main focus for the guys is still Brownout and Grupo Fantasma. I think there’s a window before we overstay our welcome, so it’s important to be mindful of that. Brownout will continue and I may do some guest vocals with them in the future, but this is just a fun side thing.

Daze: It’s awesome and weird how popular Brown Sabbath is all over the country right now. How do you feel about that?
Alex: Everybody knows Black Sabbath. It’s hard to go wrong. Black Sabbath is funky. It’s always been funky. What we do is just put a different kind of spin on it and people react because they know these songs and they dig the approach we took. That’s why it’s so easy for me to be up there and be this kind of big persona, because I know everybody knows the music. It’s great to be playing in this project.

Daze: What are you going to move onto next?
Alex: I’ve always got something going on. I’m always playing with a whole bunch of different people, whether it’s percussion, guitar or drums. This new project, “Clandestino All Stars” with Michael Ramos, Greg Gonzalez & Brian Ramos started as a fun way for us to re-interpret Manu Chao’s classic record “Clandestino”. But it’s been so fun that we’re starting to collaborate and want to turn it into an original project. We love playing with each other and it’s nice to have a small format of musicians who can do multiple things and play very dynamically. So, I think we’re going to explore that further. I’m also hoping to have some music of my own to put out by next year. I haven’t done that in a while.

Daze: You’ve been on highs and lows. What advice do you have for someone just starting out?
Alex: If you’re in it for the money, don’t do it! If you want money, get a real estate license, I heard somebody said that once. It’s absolutely true. You have to play for the right reasons: because you love it, because you don’t have a choice, because you need to express yourself. It’s a difficult life, especially with the state of the music industry right now. Nobody knows where it’s going to go. Making money from creating music has become next to impossible. My advice is to be passionate about what you do, to work hard on becoming a better person, musician and artist. That’s really what the endgame should be. If you want to be an instant pop superstar for 15 minutes, then get on American Idol. If you want to be a full-time musician, you have to realize that it’s not glamorous and it’s like anything else you do that’s worthwhile, it requires a lot of hard work.

Sundaze Conversations #1: Barfield- The Tyrant of Texas Funk

Get to know Barfield with us. We sat down with The Tyrant after Sinners Brunch at Jo’s. The team this time was John Grubbs , Caity Shaffer and I. We had a good time. Make sure you see the Barfield show live. Trust me, you will be entertained!



Daze: When and how did you know that you’d be a channel for funky soul music?  Tell me a story of how it all started?

Barfield: It kind of morphed over years.  I started out in a garage band when I was in junior high school.  I came from the school of thought of how the classic 60’s guys like Mick Jagger and James Brown fronted those kind of bands.  Then I grew to love country music too, so I sang in some country bands, country rock bands.

I was born in Houston and was around a lot of that kind of music–high school soul, funk. It was all mixed, everything was kind of no holds barred.  It was like you can like anything.  So my dad didn’t play an instrument, but he liked whatever he liked.  He might like a rock song, and he might like some classic jazz song or something.  I grew up with that, but I think as time went on…

I was playing in Wisconsin with a little band when I broke off on my own, doing more R&B and blues and soul, and a little bit of funk with my other stuff. This guy billed me as Mike Barfield and said, “Hey, I hope you don’t mind, but I called you “The Tyrant of Texas Funk.”  I said,  “No.  That sounds good.”

When I came back here, that’s been ten years ago I guess, I told Steve about it.  That’s how I became billed as that.  I gradually started doing more and more of it, and met Johnny Moeller, the guitar player and Mike Flannigan, who plays organ upstairs.  Mike was originally in the band with me too, and when I was doing the funk thing we wrote songs together.  It just kind of came that way–we didn’t really consciously plan it as such.  We got into R&B and soul, then gradually started to morph it into the funk thing.  I think with me it’s like if I had horns and all, all the time, you’d watch it and someone with my persona would get lumped into Blues Brother things.  What we do, it’s not really pure funk and soul, it’s more of a garage approach, a small combo. I love all that stuff.  The fun of it is just doing it I guess.  Just being able to live life and enjoy it as much as you can.

Daze: You’ve always had a great band.  How did you meet all those people?

Barfield:   When I first moved back in here, in 2000, I was still playing with the Hollisters, and I was on Hightone.  We had a record, and the guitar player moved to Seattle. I had to grab somebody, and I grabbed Chris Miller.  He left the Marcia Ball band and came with me.  Chris’s kind of open, in the genre sense, and came up liking the same things even though he was from Portland, and I’m from Texas.  We did that for a couple years and I started wanting to make a record on my own.  I made a record called Living Stereo with Fort Horton Studios, and it had some covers on it, some country songs I wrote, and soul, R&B, a couple blues tunes.  That was kind of my stepping out thing.  I did a soul tune by a friend of mine and Chris and Dave Miller were on that.

I was playing one night with Chris Miller doing a little thing I don’t normally do, playing an acoustic gig at Flipnotics.  And Chris said, “Oh, Johnny Moeller is here, “ and was talking about Johnny’s guitar playing.  So, I went out to the Poodle Dog Lounge where Johnny happened to be playing and Lazy Lester came out.  That was the first time I met Johnny and his brother Jay, and Mike Flannigan. I started hiring Johnny a couple times, and we just got to know each other. I never believed that much in cornball destiny things; but, in some ways, you wonder why you connect with certain people or not.  It’s just happenstance. I don’t know, but as soon as I saw him play, I just knew I’d be playing with him, or I wanted to.

I met Nick Curran years ago too when he first moved to town; that’s how I met Damien.  Nick and Damien were playing together, and Damien goes “hey man, I’d like playing with you, give me a call.”  And, I called him.  I was a big champion of Nick and Gary Clark Jr.  I did a show opening up for Southern Culture on the Skids one time.  It was just me, Gary Clark, Jr., and Jay Moeller; we all set up in the front–the drums, and then Gary, and then me.  We had no bass player; I just played maracas and sang.  We did the opening show and called ourselves The Solution.  I’m proud of those moments.

It’s all kind of a good friendly big camaraderie here and that’s what I like–a lot of that kind of intermingling from people that play in different groups.

They (the band) are all inspiring to me.  They are younger than me, and you naturally feed off that energy.  I’m always looking for somebody that wants to have fun on stage too.  That wants to be original.  That is my thing as the band leader or front man- to have that freedom where you know that the guys you’re working with are all good at what they do.  You don’t want to press on anybody too much like, “I want you to it play exactly this way,” which would be more of the James Brown approach probably.  He was more of an architect in his way.  My blueprint is different. I have to let somebody do their thing and thereby get even more out of it, I think.  They enjoy it more ’cause everybody can take a little advice or something, but nobody wants to be told to play just “that.” They might take it for a while, but it’s more enjoyable to have freedom in music.  I call it just playing from the gut.  It’s strictly from your soul and from your insides.  Why would you want to hold that back in anybody?

Daze: You don’t hold back much.

Barfield: That’s great because I’m hoping that’s what’s happening. If you’re not feeling as good as you normally are…say you are feeling tired and what not, that will bring you up, make you feel better.  It helps the audience have a good time if you are enjoying playing, and I like whoever plays for me to always feel that.  You have parameters of course on the songs you are doing…

Daze: Do you have a preference between The Continental Club and C-Boys?

Barfield: I like both. I like the small, relaxed hang out at C-Boys with the little deck in the back.  So, that’s nice; it’s a little more intimate.  But, the stage sound on stage at the Continental Club is one of my favorites in town.  I love it, and I’m used to that site.  It’s got the perfect size.  The Continental has probably been my main stay and most favorite club in Austin for years.  I’ve been really lucky because I’ve been working there for a long time. Without that club, I think I would have had a rough time.  Steve Wertheimer is  a great club owner, the guy that owns both C-Boys and Continental Club. He’s been very, very good to musicians.

Daze: When did you decide to drop the guitar and be a front man?

Barfield: I never really was a guitar player anyway, really.  At first I started out as a front man only.  Then, later on when I started playing with this other band, the Hollisters, I had to get a chord book and learn basic acoustic rhythm to do that music; and so I did that for years.  I still enjoy that, still do it sometimes; but, when I’m doing this band, that just has no place at least right now.  There is something freeing about not having that to worry about.  Then, I can dance and I can do whatever I want to do.

Daze: Who taught you how to dance?

Barfield:  Just watching TV.  When I was a kid I used to love all of the dance shows on TV, even local in Houston–that would be the Larry Kane Show where they would just have dancers.  It would be like the old Dick Clark show.  You’d see kids dancing, and the bands would come on and play or they’d be taped and just had the music…and then Soul Train.  I grew up with that, my age group.  To me that was the epitome of free form dancing.  My last years in high school, the white kids wore platform shoes, long hair, and blacks had fros, whites too.  Those were the styles I grew up with in the 70s.  I think it’s timeless–I don’t think it’s ever gone out of fashion.

You can be free and ridiculous; you quit worrying about what people think.  If someone wants to laugh at me, that’s fine too.  I don’t really care.  It’s like I know that I’m going to enjoy my life as much as I can.  You want to make fun of that, that’s fine.  Some people just want to go “look at him” but I think it makes people relax too and they aren’t as inhibited about dancing.  Some people need somebody to be that for them, so that’s what I tell them, “I’ll take care of the embarrassment for you.  You don’t have to worry about it.”

Daze: Is that part of what’s behind lyrics like “Popping the Cooch?”

Barfield: Yeah, subconsciously, I’m sure that is a lot of what it is.  I got that because one of my friends used to talk about this guy he worked with, who would brag, kind of joking around humor like, “This is how you pop that cooch,” and make that sound and do it (clicks his tongue).  It’s nasty, but at the same time it’s harmless fun.  I had a whole group of girls in Lincoln, Wisconsin.  They came out and said, “We’ve got a surprise for you tonight.”  I was like, what is it?  “It’s about music.”   And I thought, are you gonna bring me a record.  So, I get to this show, and all of a sudden they’ve got this look on their face and they pull their shirts off and they all have tank top or a black t-shirt that said “Popping the Cooch” on the shirt.  My point there is that some girls don’t find that offensive.  It’s not my wife’s favorite song that’s for sure.

Daze:  You mentioned James Brown before.  How do you feel about being compared to him?

Barfield: I’m flattered if someone even thinks about comparing me to James Brown.  There are only a few musicians that have been giants, Mount Rushmore type figures in music.  He would be one to me.  He took some musical form like rhythm and blues and soul music, and all of a sudden he accents it another way.  Just by his natural instincts, and lack of formal training, comes up with this thing that nobody has come up with.  He truly is the Godfather of Soul.   He started out more as soul and became funk.   I can’t think of anybody I would say has been more influential.  There’s a movie coming out about him that Mick Jagger produced.

Daze:  Did you ever get to meet James Brown?

Barfield: No.  I saw him once in his later years, but even at that age, he was still very tough.  He was like 70 years old and still doing a couple moves.  Maybe he didn’t sing as good as he used to, but he was great.  The band was machine tight.  I mean, I wish I could have seen him way back.  A lot of my favorite singers are people of that era.  I wish I could have seen Jackie Wilson.  I love him.  He’s a singer, and his vocal range is so different from mine.  I am naturally a baritone, but I kind of have a high end to my voice; so, I have always admired someone who has that higher range.

Daze:  What is your writing process like?

Barfield: When I am writing for this band, or trying to, sometimes I will have an idea on my own; or, other times, Johnny will have an idea about a rhythm or chord progression, and I’ll put lyrics to that.   Sometimes I’ll have both.  “The Struggle” I wrote myself.  “Popping the Cooch, I wrote.  With the Struggle, I originally wanted a song that just stays on the one all the time.  And that’s what that song was.  Some stuff I will start off on the acoustic guitar.  Lately, I am writing a lot with Johnny.  And I used to write a lot with Mike Flannigan too.  I like having a partner in crime.  Sometimes the whole band will get in on it.  Sometimes they just help arrange it.  It just kind of depends.

That’s what’s fun about being in a group.  Feeling like if it is really going good on stage, or if you come up with something good, you almost feel like you are part of a big wheel that’s turning.  You’re making this whole thing go.  At the same time, you’re just a big spoke in it, part of the thing that’s pushing it forward.  When everybody is in that, and the whole band can feel it, there is nothing like that.  I love that feeling.  It is kind of like you are tripping in another way.  You are physically involved, and mentally involved, but it’s relaxed.  It’s just happening.  All those things you’ve worked on before.

But “good’ and “bad’ you know.  Some nights when I feel it’s not as great, that’s when everybody goes, “Man, that sounded so good!”   And you’ll think, “Oh, I thought we were a little bit off.”  It’s a strange thing.  That makes you realize, “I don’t have a whole handle on it either. The people out there; they are the ones making it too.”

Daze:  What’s next for you?

Barfield:  We are trying to get a little EP out.  We’ve got a recording we are waiting on to get mastered.  Hopefully, we’ll make some vinyl.   Some CDs.  Have a release party.  Try to get out more.  I am looking forward to that.  It’s always hard too—the waiting.  I just try not to worry about things like this as much as I used to.  Take it day by day…

Daze:  Do you have a lot of gigs this week?

Barfield: Tuesday night, at the Continental.  Just about every week.

Daze:  Your gig is one that, definitely, everybody in Austin needs to go out and see.  Thank you for doing this.

Barfield:  Ah, you bet.  Thank you, man.

We just will not STOP! ISSUE #86

IMG_3935This is the new cover by  Rockslide. It features Barfield. IT REALLY FELT GOOD TO TYPE THAT!

I will post our words with BARFIELD tomorrow and a new interview every week….


Vuelta del pulpo = return of the octopus

What is going on with The Daze?
Sweet . Thanks fôr Asking…


A hell of a lot of things are going on over here. We are trying to get in a solid groove with these conversàtions/interviews. We will get them up soon. 5 of them down so far! A new cover will hit ànd our site will get easier to use and have a new look soon. It sounds like I enjoy the word SOON becàuse I use it often here. In truth, I wish, soon was now. The way things háppen sometimes is slow but there is progress. There is alsô some tałk about a return öf Thè Daze Partièś. Asîde from thAt we are śtill out there covering things most nights.

If you want to help out or get involved, just message us…

Thanks to rockslide for the new mantra!
Vuelta del pulpo!

Stay Tuned…

Hard Working Americans at Stubbs 7.26.14

Todd Snider, Dave Schools, Neal Casal, Chad Staehly, and Duane Trucks have supergrouped themselves into a band known as Hard Working Americans. Here’s some pics from their Saturday night set at Stubbs. Special guest Elizabeth Cook on vocals.

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40 Years of Austin City Limits

When a TV show lasts forty seasons it’s because they are doing something right. Drop into random episodes of Austin City Limits and you’ll hear an impressive scope of different genres and sounds, yet it all feels handpicked for the same audience of discerning music lovers. The music at the recent Austin City Limits Celebrates 40 Years benefit concert is equally diverse, yet paired well: the slickback blues of Jimmie Vaughan, the ameritexacana roots music of Joe Ely and Robert Earl Keen, old school outlaw from Kris Kristofferson, the Latin funk orchestration of Grupo Fantasma, and the garage-soul of Alabama Shakes all appear to honor the show turning forty.

On the night of the taping the population of the ACL Live studio sits in anticipation. In the side stage area tonight’s key players are gathered in a moment of calm before the cameras start rolling. Host Andy Langer reads over his notes, beside him producer Terry Lickona and Jeff Bridges stand side by side talking. Sheryl Crow grins and looks up into the balcony. The music hasn’t even started but there’s electricity in the air. After quick stage introductions, the flood gates open with four hours of entertainment. Before the first notes you know it’s gonna be good, just by the talent assembled on stage for the opening song. Bonnie Raitt, Jimmie Vaughan, Gary Clark Jr., Brittany from the Alabama Shakes, and the Grupo Fantasma Horns deliver on that promise, ripping through a Fabulous Thunderbirds song. As they leave the stage emcee Andy Langer points out most shows end with a song like that, but they made it the opening shot. Did we forget to mention they are backed up by the all-star house band of Lloyd Maines, Rich Brotherton, David Grissom, Glenn Fukunaga, Riley Osbourn, and Tom Van Schaik? After sharing duties with Sheryl Crow on “Me & Bobby McGee”, and a solo take on his classic “The Pilgrim, Chapter 33”, grey-bearded sage Kris Kristofferson cedes the stage to his grey-bearded country twin Jeff Bridges. Bridges in turn plays a couple of songs penned by the late great Stephen Bruton, paying tribute to his old friend. After a couple of songs from the Alabama Shakes, the first set closes with Gary Clark stretching out on his hit “Bright Lights”. In rehearsals, Terry Lickona felt like something was missing, so he asked Gary to stretch the song another minute. The extra time allows Gary to add more firepower to his solo in a climatic first set finale. Andy Langer noted that while growing up, Gary Clark wore out a VHS copy of Stevie Ray Vaughn’s Austin City Limits episodes. The circle continues as Clark now has his own guitar licks documented for history on ACL. Second set highlights include a pair of Grupo Fantasma songs that move some audience members to dancing; a triple threat of Jimmie Vaughan, Doyle Bramhall, and Gary Clark together on a blues burner; and Robert Earl Keen with Joe Ely trading verses on “The Road Goes on Forever”. The show that started big ends big, with all musicians returning to the stage. The grand finale is Buddy Holly’s “Not Fade Away”, a Texas anthem for the entire cast and audience to rally around, multiple singers taking verses, multiple guitar players trading licks.

NotFadeAwayPhoto by Scott Newton Courtesy of KLRU-TV

Calling Austin City Limits a local and national treasure is not PR speak or fan-blogger overenthusiasm; it’s for real. Most telling is the respect artists have for Austin City Limits. The traditionally calm cool Johnny Cash was a touch nervous before his historic ACL taping, he knew it was a big show and wanted to get it right. We may be forty years removed from the initial pilot episode, but the core vision of the show remains pure and in place: great music, intimate performances, and attentive audiences; all captured on camera and delivered weekly to the public.

As part of the PBS Fall Arts Festival, ACL Celebrates 40 Years will appear as a two-hour special on PBS on Oct. 3.

Austin City Limits Celebrates 40 Years


Austin City Limits Celebrates 40 Years on June 26th to benefit KLRU-TV, Austin PBS. This special night of music featuring Alabama Shakes, Doyle Bramhall II, Jeff Bridges, Gary Clark, Jr., Sheryl Crow, Joe Ely, Grupo Fantasma, Robert Earl Keen, Kris Kristofferson, Lloyd Maines, Bonnie Raitt, Jimmie Vaughan and more. Hosted by Jeff Bridges and Sheryl Crow. This benefit concert will be recorded and aired on PBS as part of the PBS Fall Arts Festival in October.

Doors: 6:30 PM · Show: 8:00 PM

Shots of the Daze # 46

Bill Frisell jams out at the Continental Club 5/23 and 5/24, 2014. This time Bill brought out a backup band with him;  Greg Leisz on guitar and pedal steel, Tony Scherr on bass & Rudy Royston on drums
I was very fortunate to be able to experience this show two nights in a row. Bill went through some great material, and with ease. I couldn’t take my eyes off his fingers as they moved up and down the strings on the neck of his guitar. I like to think of myself as knowing what’s going on at a show, but between Bill and Greg, I was having trouble figuring out who to pay attention to. They were tossing back and forth leads on guitar and it was pretty amazing. These guys will be releasing an album soon, and it is definitely an experience worth checking out. A side note: I have never seen folding chairs set up in this club before.


Shots of the Daze # 47

Shinyribs live at Threadgills 5/24. This band blows my mind. Kevin Russell is one of the greatest performance artists around. The horns that they have onstage are some of the best around. The drummer also comes from The Gourds days. There was a mad keyboard player and a bass player on this night. I have long been a fan of the Gourds. This band takes what they were doing one step further. I think it’s because Kevin is able to write and perform material that is outside of what was the norm for the Gourds. The crowd’s faces were mesmerized and transfixed on Kevin as he performed Sweet Potato. Watching these people is almost as entertaining as watching Kevin go through the movements on stage. I was talking with my friend after a show, and he was saying Kevin Russell has “the flow.” Magic and grooves seemed to go through his body. I recommend catching these guys create.




Shots of the Daze #45

Papa Mali Trio live at Cboys Heart&Soul. 5/22/14.

On this night, the trio was made up of Robb Kidd on drums, Brad Houser on bass, and the excellent Papa Mali on lead guitar and vocals. Ever since I heard about this show, I knew that it would be a reunion of many old friends. I was right. Papa Mali used to be a regular in the Austin music scene before he moved to New Orleans and this night brought out many of the musicians he used to play with as well as most of his Austin fanbase. I must have gotten hugs or shook hands with most of the filled room that night. The music was stellar. There were many guests. The first guest was Scrappy Jud on guitar. It’s been a long time since I have seen Scrappy tear it up and rock out. He is usually in a more subdued context. I really enjoyed watching him let loose. He is one of the greatest guitar players I know of.  Also joining the line-up was Martha, she added sweet vocals to the already-good sound. Then. Claude showed up and playing a melodica and Papa Mali kept the crowd moving with amazing licks. We took a break with them. He came back out with Kevin Russell from Shinyribs and the stage was on fire because both of these people have really incredible stage presence. They finished off the night with “Lovelight” and “Bertha” and  kept everyone dancing until 2am. This was a Thursday night but it felt like a Saturday because the movement of the crowd kept up til late. I hope Papa Mali felt the outpour of love from the fans and I hope this means that he’ll be returning often. We miss him…

Thanks to Cheryl for pictures :)IMG_3268 IMG_3203 IMG_3179IMG_3224

Pachanga Festival 2014 slideshow Shot by Monica Martin


un Stephen Bruton. This is an old interview he did with me for Austin Daze. Worth a read…

imageAUSTIN DAZE: How did you get started in the business?

STEPHEN BRUTON: Well, when I got started it had nothing to do with business-I was just playing guitar in Fort Worth, Texas. And then, you know, one thing leads to another and the next thing you know you are getting paid a couple of bucks to do this or that and your hobby becomes your profession and your profession becomes your calling and pretty soon you’ve made a livelihood out of it. And now it’s too late to stop.

AD: Did you always know this was what you wanted to do for a living, or was there a specific time when it clicked?

SB: No I didn’t really know exactly how you make a living out of it. My dad was a professional musician-he was a drummer-but he always went to school and then had a record store in Fort Worth so he worked six nights a week and then six days a week he worked at the store. I was always surrounded by music. I got out of college during the Vietnam War era and I had a bad back so I didn’t have to go into the service. I got a degree to stay out of it and then said, “Well I’m going to try my luck.” So I wound up moving up to New York just to see. I knew there was a lot of music going on everywhere but Fort Worth, and I thought if it’s like this here it’s got to be great elsewhere. So I did that, went up to New York and lived up there, and wound up getting a job with a songwriter named Kris Kristofferson and wound working with him for years and years. Went back to Fort Worth and worked with Delbert McClinton for years and years and then back to work with Kristofferson at the time his star was born. I stayed with him for a long, long time but worked with other people-always worked with other people. So I ended up working with lots of greats and doing a lot of session work all over the place and was really fortunate.

AD: I read that you moved up to Woodstock; was that scene similar to Austin back then?

SB: It wasn’t similar at all. There was no scene in Woodstock. I didn’t realize when I moved there but everybody that lived in Woodstock during that time could afford to live there. There were a very small number of us where we wound up playing music. My friend Jim Colgrove was there. I was playing with Graham Parsons and all those guys that had been with Janis Joplin and then she died and they didn’t know where to go. They went back up to Woodstock where Albert Grossman had them up there. And there were the guys in The Band who I met. I met Levon the very first day I was in Woodstock-my roommate was working for them at the time. There was no real live music. There was only one place to play in the town. It was that everybody that could afford to live there lived there and made music there-they didn’t make music out at the clubs. If you wanted to go see live music you went into New York City. On the weekends I would take a bus there and check out what was going on.

AD: Did you know Cindy Cashdollar?

SB: I did not. And I didn’t know the great bass player Jennifer Condos. Evidently they were both around when I was there. They somehow escaped my grasp. I’m sure I would have ultimately wound up meeting them. I didn’t know Cindy during that time, no.

AD: You play in a number of formats-as a solo artist; with a band. Do you have a favorite?

SB: That’s an interesting question. I’ve always been of the mind that whatever you are doing at the moment is the most important thing that you should be working on. And so I always operated in a band format as a back up player and so to me that was my calling-I really enjoyed playing behind everybody. And then I was playing in bands and maybe doing one or two songs but I always liked the band dynamic because a really good band was greater than the sum of its parts. And I always loved playing guitar. That’s where my reputation, if there was one, came from. But as it has gone on over the years I never expected to be a solo artist and have my own band and everything but that became something that just fell in my lap-I didn’t avoid that. And I got more comfortable with that after I started doing it. The Resentments is just a bunch of guys who have their own bands but also play behind people so we’re comfortable doing either. It’s kind of interesting because one out of every four songs you get to sing a song and the rest of the time you are a back up player which is what we all really made our bones with. So in answering your question, whatever I’m doing at the moment I try to let myself do whether it’s me playing solo with The Resentments or playing with my band or backing up somebody-playing behind Malford down at Antone’s on Blue Tuesday or producing a record or playing with Kristofferson or Bonnie-it’s just whatever you are doing at the moment I think you really need to focus on. As a result, more and more things have come my way because I didn’t put my foot down and say, “This is what I do.” In this town we all know that everybody has to play in three or four different bands to make ends meet. And also as a professional, sometimes you have to do three or four different things. I’ve been really fortunate-blessed-to be able to do lots of different things and get called to do them again and again. One year there was nothing going on musically and I wound up getting a bit part in The Alamo. You never know where it’s going to come from so you’ve got to keep yourself open to it and lend yourself to whatever is going on at the time.

AD: Tell us about your writing process. Where do you get your ideas?

SB: That’s a hard question because there’s no formula. It’s funny the last album I put out the only mediocre review I got was in Austin where the guy said, “All his songs are formula.” And I started laughing because if there’s one person that doesn’t write with a formula, I’d have to say it’s me. I mean if it was a formula, if they knew the formula, everybody could do it and everybody could do it successfully. There is no formula. Sometimes it literally starts with maybe an idea-a word idea or clever phrase or something that you realize if you say a certain way can mean two or three different things. Other times, a lot of times, it comes from, say, a rhythm that you are playing or you have an interesting melodic line and you think, I don’t want to forget this, so you wind up making up a lyric so you don’t forget the melody. It’s not particularly deep or anything-I think some of my favorite songs in the whole wide world weren’t message songs or anything, they were just wonderful songs by themselves-they just express something that’s just, I don’t know, almost unconscious. Sometimes I think I’ll overwrite something, I’ll be a little heavy handed with it and then I’ll go back and you have to put your ego aside and you have to say, “Ok how can you say this where it doesn’t sound like you’re coming down with a hammer on somebody?” I think songwriting comes from wherever it comes from. It just happens.

AD: I read that you liken acting to performing music.

SB: I kind of backed into doing acting. Lets face it, I’m not exactly a household name by any stretch of the imagination, but a number of years ago I went out to LA and I was working out there playing music and I started going to this scene study class. You would take scenes from plays and you would work on a scene for a six week period and every week you would add, say, a page so by the end of that time you had worked on an entire segment of a David Mamet play or something. What I noticed about acting was that everything I had learned in music as a member of a band you could also correlate to something in acting. In other words, it had to do with the rhythm; it had to do with making whatever you were working on work. It had nothing to do with your own ego. So I really had a great time with it. This instructor said, “You seem to be able to adapt to a lot of things.” And I said, “Well it’s really the same thing as playing different kinds of music.” When it comes time for someone to deliver their lines it’s action and reaction. You’re reaction to whatever is happening at that moment is the truth. Therefore I could see a real similarity between the band dynamic and the acting dynamic.

It’s like a band situation-and I got to say the guys in my band are the greatest. My father was a jazz player and I always grew up with a jazz sensibility about how the music should go. And I’ve explained to different people that there has to be this dialogue between the three of us before I ever sing a note. Even though my songs are not jazz at all, I always approach them with a jazz sensibility-there has to be this subtext, this conversation musically between everybody before you start singing. So I think that’s where that comes from.

AD: What do you think is special about an Austin audience?

SB: Well what I’ve told friends that have asked me about Austin, I’ve said, “It’s not an industry town.” It’s good in some ways and not good in some ways. What is good about it is when you come down here you really are playing music for all the right reasons. You’re not there to get the sessions-there aren’t a lot of sessions. Everybody is trying to help each other along. If somebody is out of town I’ll get a phone call to come play somewhere. You might get a call to play western swing one night or you might get a call to plays blues one night-even though that’s not what you do per se. What else is cool is that I’ll go out and hear different bands because it’s not a competition. You’re out there really enjoying what somebody else is doing because they are much further ahead in it than you are.

AD: Do you think other towns have a greater sense of competition?

SB: I don’t know. You could say some pretty catty things about different scenes. The real guys, the true players are always going to be the same in every town. But if this was more of an industry town, if there were more sessions or what not, people would be a little bit more competitive. That’s not always a bad thing because that really makes you sharpen your skills. There are two ways to look at every town. Somebody could say, “Oh Nashville, I don’t like Nashville because it’s too this or too that. But there are some of the greatest players in the world that come out of there, and some of the greatest songwriters and it’s an incredibly good music scene. It didn’t used to be that way. When I first started going there, I don’t think the music scene was nearly as viable as it is now. But it’s easy to ride off other areas. You hear, “He plays like an LA guy” Well what does an LA player play like? The guys in LA I know are incredible. Any town would be proud to have them join. I think you have to be inclusive rather than exclusive. Sometimes I think if there is a down side to Austin, it’s that it becomes a little exclusive; it gets a little too inside and a little too hip sometimes. But then again I love it here for the reasons that people really are inspired by each other and that’s really inspiring, the fact that it’s not an industry town, and no one is looking over your shoulder and telling you what you are doing wrong. You are able to grow at your own rate.

The audiences here, I find to be really great and lets face it, it’s great to be able to play several nights a week. You have to realize you’re not going to get rich quick-you may not get rich at all but you are able to play. And if you are a player, that’s what you’ve got to go do.

AD: What is the best thing and the worst thing about being a musician in Austin?

SB: Lets talks about the worst thing: sometimes I hear this town referred to as the “velvet rut” and I think that can be true to a certain extent. Because you get comfortable here; because it’s so comfortable climate-wise and at least until recently, so easy to get around and smaller and friendly, good quality of life-it’s easy to become complacent. Any time you have a town that gets content with itself, it’s not growing. If you become complacent, you’re not growing. So you have to constantly guard against becoming satisfied with what you are doing and how you are doing it. There’s a difference between acceptance of where you are and what you are doing and procrastinating what you want to do or how you are going to do it. You have to keep furthering yourself. I think the worst thing about Austin is that sometimes it gets a little full of itself. It’s easy to live here and take yourself a little too seriously and have a little too much respect for yourself. You can wake up in twenty years and still play the same whatever.

A number of years ago I started getting into producing, and when I would get off the road that was a wonderful place to be. I would get off the road with Bonnie or whoever I was working with and then go into the studio and produce somebody and it would be the flip side of the road-you know what I’m saying? You’re sleeping in your own bed but you’re playing music every day. So it was a wonderful place to be. But then the advent of the home studios: record companies went by the way-side, budgets have fallen drastically and now you’re asked to do the same amount of work for much less money. It’s just the way the industry is. It’s not like you’re not working or anything like that-it’s just the way it is. So that’s kind of the downside for somebody that likes to produce and be on the road. For awhile there I was having a ball. It seemed to kind of dovetail together.

Now the best thing about being in Austin: even with the growth we’ve seen in the city it still maintains a community vibe-there’s a great community here. I don’t know, maybe I’m insulated and see what I want to see rather than what is actually going on but I feel pretty strongly about it. I feel that the music community is still really, really strong and real insular and protective of each other. I think that’s fantastic. I also love the fact that somebody calls up and says they are having a benefit and 99% of the time you’re in. That’s not found in a lot of towns. I really think that’s something special here. It’s one of the reasons I love it here. And it’s still easier to get around than New York.

Austin is a double-edged sword: for the same reason you can argue for it, you can argue the other side of it.

AD: What kind of changes have you seen in the music business since you started?

SB: It’s really changing shape in the fact that the recording industry is different and what’s changing in the actual business. When it started out with 78s it was a singles oriented situation and it lasted until 78s became 45s and then if you had enough successful 45s or 78s you got to do a thing called an album which was all your hit singles and then three or four other sides that made an album. With the advent of CDs, record companies got really greedy and they were charging close to $17 for something that cost them a buck. Well now because they were greedy and because it was a self-fulfilling prophecy it’s gone back to a singles market. It seems like the younger and younger crowd that are buying music are buying single songs. It’s interesting to see it come around. A couple of years later it’s exactly where it started off in that sense-a higher technological sense that somehow doesn’t sound as good.

AD: Speaking of change, what do you think of SXSW?

SB: I enjoy SXSW because I get to see a lot of my friends that come to my town but still get to sleep in my bed. I think when it first started what I really think was great, and it seems to still go on, it was basically started for people to exchange information about things that they didn’t have-independence in the late ’70s and early ’80s. You could exchange publishing information and touring ideas and how to do things for less money and how to get your songs out there. This was right when the industry started shifting so it was a great thing and a great service, the original SXSW. And of course like anything else, it breeds success but also breeds its own failure. But if you take a look at the Convention Center every year, they still have the original thing: you can still find out about publishing; you can still find out about putting out your own CD. There is a lot of information that is exchanged that is for free.

About 18 years ago I was really hating SXSW and I was down at the old Austin Rehearsal Complex (ARC)-they were opening it up for a showcase-and I hung around there and saw all these different young bands from New York and LA and I said to myself, “Man you are really becoming one of those old guys that hates everything. These young guys are great and they have driven all this way and are just trying to get a chance. They are all hanging out and they are just as nice as can be.” I looked at those guys and thought, there you were. There you were. What are you going to put down about that?

On the other hand, I think it has a tendency to take itself way too seriously.

It’s kind of an interesting deal. One of the things I noticed when it first started getting big and a lot of the national acts started coming down here and playing and it got to be a little Hollywood, was that this town wants it both ways. This town wants to be its own isolationist, hipper than thou, we’re Austin and the rest of you guys are something else. But then at the same time it also wants to be recognized. Welcome to Austin. Now go home. They’re not going home. That comes with the territory. It’s all changing.

But I don’t have to worry about anyone else’s motives; I have to worry about my own.

AD: What wisdom would you offer musicians starting out in the business?

SB: You have to do it for the original reason that you started out which was that there was something in there, some magic element that was not tangible-not verbal. I’ve always told guys playing guitar, “This is your best friend, this is your shrink, and this is your better half, your mistress. This is the one that holds the mirror up to yourself.” The greatest thing about playing music is that you have an outlet that not a lot of people have. Anybody that is able to do that is completely blessed anyway but to do it for a living, come on. Let’s take a look at the world: we’re not stuck in Baghdad, we’re not stuck in Eastern Europe, and we’re able to do what we do. So don’t take it for granted ever because it is a gift. To sound like Yoda, “You must use this power only for good.” A lot of times if you are a musician you really don’t have a choice-this is what you are going to do. It doesn’t matter if you do it on a big scale or a small scale. My dad worked in a record store during the day and played music every night. I was able to go on the road and fortune shone my way but I know that if I was working in a store I would be playing music on the weekends. That’s just what you do. You just got to do it. The main thing is do it for the right reasons. If it gives you joy keep doing it; if it’s causing you a lot of pain you might want to take a look at it and back off for a minute. If things are going haywire, I don’t think it’s the guitar that is treating you wrong.

AD: Any new recordings coming out?

SB: I’m sure there will be. I haven’t been recording anything lately although I have been writing quite a bit. I’ve been testing new songs out at the Resentment gigs much to everybody’s chagrin. I’ll just finish them and bring them in on a piece of paper, lay it at my feet, and see if I can get through it. I think I have an album well under way right now but I want to keep writing until I can cherry pick it and find the best ones.

AD: One of our staff saw you with the Blue Tuesday Band. Is that going to be a regular thing?

SB: I don’t think so. I got the call to come play when Derek was out of town or couldn’t make it one night which I was happy to do. It was a couple of Tuesdays within a two or three week period. David Murray also played guitar and David’s an incredible guitar player so we had a really great time. Riley was gone last week, he was out in LA doing the Jay Leno Show so it was me and David playing two guitars rather than having a keyboard player. When I’m in town I love to play, I’ll probably go down and play a bunch more but I’ve got things going on. I sure had a good time playing down there.

AD: Anything else?

SB: I think we covered it all. I’m pretty long-winded.

Now, those who know me, know that I dislike trailers…blah blah blah… I like this one… DAWN of The Planet of the Apes.



This is a super cool festival. I love the grounds. Remèmber when the east side meant culture. This fest retains that.!
win a pair of tickets by being the first person to write: Viva Pachanga
on the Austin Daze Facebook page

Maria Mesa returns to review a new disc by Adrian and the Sickness “Be Your Own Saviour”

imageAdrian and the Sickness
“Be Your Own Saviour”
2014 Fantom Records
Produced by Alex Lyon and Adrian Conner
There are many things that set Adrian Conner apart from most rock musicians today (assuming the term “rock” even applies to the current musical landscape) but the most important is this: Adrian Conner understands what a ROCK SHOW is, the way rocks founding fathers did. The early pioneers of the genre knew that first and foremost they were entertainers putting on a show, and rock music was the vehicle that got them there (obviously no longer common knowledge). Perhaps it’s all the time Adrian has spent nailing the role of Angus Young in the all-female AC/DC tribute band “Hells Belles” (Angus being a master rock showman himself) but also I think it comes down to basic work ethic. How happy do you want your audience to be? How hard are you willing to work for that? This is a time when work ethic is in short supply, and Adrian has a very happy audience… Coincidence? Nah…
In 2006 I picked up my box of CD’s to review from the Austin Daze office, containing an offer from the dread-headed wonder I didn’t know about yet. I looked at the cover of “Adrian for President,” she seemed pretty cocky, so honestly I expected her stuff to suck… but I was wrong. Instantly it was obvious that AATS were a band with talent, vision, and a professional level future- just not much of a budget at the time. But they won me over with abundant heart, soul and attitude, and I had big hopes and expectations for them. Guess what folks, they have delivered and continue to deliver… Bigtime.
2009’s release “B.F.D.” is big, solid and powerful. Produced by Kathy Valentine of the Go Go’s, it has that polished “We’ve been signed to a major label” kind of sound. Smart songwriting, thick and lush production, it proved that this is a band to take seriously. I really thought it would put them on the big stages and big tours they deserved, but the music business these days doesn’t often reward those who are so deserving of success. But their local popularity grew, and in 2011 they were awarded Austin’s Best Punk Band by the Austin Chronicle. (Punk band? Uh, well, okay…)
2014’s “Be Your Own Saviour” is a big move for AATS. Raw, edgy, filled with unstoppable confidence, Adrian delivers her best songwriting to date. Her guitar work puts her alongside some of Austin’s best known 6 string heroes, and in this setting she gets to show off her lead vocal skills (something she doesn’t get to do as Angus). The album goes into unpredictable territory, sometimes ambient, sometimes acoustic, then full out hard rock. Longtime collaborator Heather Webb lays down the best bass tracks of her career with masterful chops and a monster retro tone, and drummer Aaron Nicholes is solid and in the pocket throughout. Former AATS drummer and Austin stalwart Ric Furley supplies percussion.
Stand out tracks are: “We Got It All,” “Take The World,” “Dark Force” and “Turn Off Your TV.” You will be happy and a better person with these songs in your life, and the karma you will receive for helping them out is immeasurable…
-Maria Mesa

Slideshow of Tom Jones at ACL live at the moody theatER by Robert Smith

Shots of the Daze #44

Tom Jones live at ACL Moody Theatre. 5.2.2014 I am so grateful to have had the opportunity to cover this show. The seats were higher up than I’ve experienced at the Moody, but the sound and view were perfect, proving to me that there is no bad seat in the Moody. Tom Jones rolled through all his hits with ease. He still has a very strong voice and was able to fill the room with emotion.

His enigmatic stage presence was impressive, but I wasn’t the only one who felt this way.

From this vantage point, I was able to see something I’ve never seen before. I watched the 73 year-old superstar surrounded by women’s underwear. Tom has been performing for over 50 years and each night he plays, he receives this kind of reception. I can’t help but wonder, what does he do with all the panties? Does he keep them in a large warehouse? Throw them away? Donate them?  Recycle them? It must be distracting to be surrounded by 40-50 panties and he women who threw them. Does he ever slip or trip on them, I wonder?

I plan to ask Tom Jones for an interview so I can answer some of these pressing questions. I had a new photographer, Robert Smith,  capture some photos of Tom Jones. Keep posted for a slideshow of his work.
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