Hux here. Just wanted to let ya’ll know it’s been a real pleasure being a part of the Austin Daze community and getting to write music reviews, but it’s time to move on to other music related adventures.

Thanks for reading our CD reviews, going to the shows we get excited about, supporting local music and reading our blog. Keep sending in those CDs and making great music, but ping the editor for the new delivery address for review.

Best to all,

Hux McRiprock

With longtime Austin hero Guy Forsyth, expectations can run high. Given the body of work he had prior to this album, beginning the writing process and attempting to record must be a daunting task. And for those of us on the other side of the process, popping in the first original studio recording the man has done since 2005’s “Love Songs For and Against” comes with nervous anticipation. (2008’s release of “Calico Girl” was a re-recording and improvement on 1999’s “Can You Live Without” that got tangled up in a bad record deal).
In that time, many things have changed for Guy. His daughter Mary Mae was born, and more recently he was signed to the Blue Corn Music label which specializes in eclectic mixes of Americana that he will fit perfectly in.
“This record is different from the last couple projects that I worked on because I specifically set out to make a studio record, not an immediate representation of something that I was already doing live,” Guy said. This is a concept album, the concept being Guy’s attempt to explain himself to his little girl, who without a doubt will study this album carefully later in life. When that day comes, it will probably just confirm for her how fortunate she is.
“Red Dirt” opens with an old school blues and gospel mix; the lyrics that begin as a gardening lesson quickly turn to parenting: “Too much talk and she won’t learn to listen, too much silence and she won’t learn to speak, too much favor and you spoil her, not enough and you make her weak…” Then the song turns to the men of this world: “Too much pride and he won’t pay attention, too much money and his soul grows thin, too much faith and he can’t see reason, too right to see the shape we’re in…” Other stand outs include the old chain gang style “Sink ‘Em Low (The Holler),” “Things that Matter,” “Econoline,” the haunting “Can’t Stop Dancing,” “Balance,” and the Johnny Cash styled “Old Time Man.”
Along for the ride are bassists Ed Friedland and Jeff Botta, drummer Nina Singh Botta, Oliver Steck on keyboards, accordion and trumpet, Matt Smith on guitar, John Doyle on clarinet, David Webb on organ, and Asylum Street Spanker alumni Sick on fiddle and Wammo on vocals. Guy supplies guitars, ukulele, harmonica, mandolin, wine glass and saw. As you might expect, Guy runs through a number of musical styles using broad instrumentation with ease, crafting the kind of songs that just seem to fall out of him naturally. All songs are delivered with the kind of earnest passion that has become rare in today’s music.
“There’s a level of care that can go into something that speaks to a love and an interest and engagement in life. You try to make something that reflects the world as you want it to be. I just want to make songs that are worth people’s time to listen to. I’d hate it if I were wasting anybody’s time, because time is the most precious thing we have. If somebody’s going to give you their attention, you need to make it worth their while.”

-Maria Mesa, Atown Records

http://noriband.com

Jim Libby: Made in the USA- Libby’s debut album was planned around an overarching theme of challenging yourself and commitment to your word. He states, “I want to this alubm to invoke feelings of pride, ambition and honesty.” Compared to the sounds of Hank Williams Jr and Merle Haggard, Libby strikes his own sound using a strong traditional country background full of twangy guitar, upbeat fiddle and mandolin accompaniments with a little rock in the mix.

www.jimlibbyband.com

Andy Macintyre: Ruby- A bluesman with a bit of a rock edge best describes the album. Even though the blues run strong throughout the album, Macintyre doesn’t mind a little experimentation with various styles. Check out “Ruby” and “Jaliene.” Both tracks exemplify the strong songwriting that makes this album unique.

www.andymacintyre.com

Marina Rocks: Believe in Love-The album fuses heavy hitting with sentimental. The nine song project projects melodic Americana with a little more rock than meets the eye. Expressive, honest songwriting along with the ability to provide acourstic solo performances agains an electric power-trio makes Marina a force of her own.

www.marinarocks.com

http://bubbahernandez.com

Waldo & The Naturals-Silver Dash: The 24-year-old singer/songwriter will release a new album at the Parish on September 7th. Often laid back and soothing, the album can also swing heartfelt and upbeat offering a soulful view of the modern world. Drawing from the likes of Stevie Wonder and Brian Wilson to Animal Collective and Beach House, the band includes a new stylistic variation by blending elements of soul, orchestration and blues in a cohesive form.

www.waldoandthenaturals.com

Matt Bunsen and the Burners-Porch Party vol. 1: This seven-piece band puts together old-school country, classic rock from the 60s and 70s along with Matt Bunsen’s personal works. They call themselves a “folk-rock party band” which also features acoustic instrumentation and three-part harmonies. The album brings on the energy from a live show while still staying polished.

www.mattbunsen.com

Liz Mitchell-Pretty House: Singer/songwriter Mitchell, brings on her second album self-described as “not easily pigeonholded, but influenced by many people.” Influences from Joni Mitchell, Bonnie Raitt, Dory Previn, Billie Holiday, Tom Waits, Chopin and others. She’s received accolades from various contests for songwriting. Pretty House showcases her dreamy vocal quality and deep rooted lyrics.

www.lizmitchellmusic.com

Joy Mover-JoyMover: This debut album includes a collective of artists, as well as, the artists own original songs that are distinctively unique in their interpretations of familiar material. From composing an original verse for the sultry, “Fever” to writing rap lyrics to introduce her rendition of “Till There Was You,” she layers a modern attitude atop the romantic standards.

www.joymover.com

Scott Chism & The Better Half-Long Haul Steady: A storyteller who makes the simplicity of his stories come alive with his clean-cut country/folk style with a rough bluesy edge. Based in Mississippi, the blues isn’t hard to find on this album. “Hand Me Down Blues and “Keep Bearin’ Dow” have a classic Americana sound with a southern twang.

www.scnbetterhalf.webs.com

3.5 McRiprock’s

www.davidralston.com

Penny Jo Pullus–Through the Glass: Joining Pullus on her fifth release is Ian McLagan, Jimmy LaFave, Eric Hisaw, Warren Hood, Shelley King, John Bush, Will Sexton, Matt Giles, Scrappy Jud Newcomb, Chip Dolan and Cleve Hattersley. She puts out an album with a heady combination of roots and pop, paying homage to Roseanne Cash and Lucinda Williams along the way.

4.0 McRiprock’s

www.pennyjopullus.com

Moonlight Social–Heading South: Duo, Jeremy Burchard and Jennica Scott began the band with an alt-country/rock twist in early 2011. Wining big praise with a SXSW showcase, winner of the 2011 Austin Chronicle’ Sound Wars and topping the GRAMMY U “Show Us Your Hits” competition they quickly became a hometown favorite with eyes on this release. Harmonious country sensabilities married with electic guitar style and expansive rock roots make their sound a signature.  Their CD release will be held on Saturday, July 21 at Club 606.

4.5 McRiprock’s

www.moonlightsocialmusic.com

5.0 McRiprock’s

www.arthurnasson.com

4.5 McRiprock’s

www.thesatinhearts.com

3.5 McRiprock’s

http://www.riotactmedia.com/artists/freckleton.php

5.0 McRiprock’s

www.thousanddays.com

4.0 McRiprock’s

www.garrettjbrown.net

AUSTINDAZE:  How long have you been on the scene in Austin?

It was 1980 that I moved to Austin. I played in Austin in late ‘79/early ‘80 on tour with Rank and File.  We went to Houston and these friends with this fanzine Contempo Culture gave us some pot to bring to Austin for Lester Bangs.  It never made it, but we did make it to Austin. I fell in love immediately. I always wanted to come back to Texas, I was born in San Antonio.

AD: Austin Music Scene

When I first got there, I just caught the tail end of Townes, Willie playing smaller venues like The Opry House, Shoal Creek Saloon, places like that. I got to see all those guys Jubal Clark and Pat Mears, Lucinda was busking on the Drag, Joe Ely at the Alamo, do you remember the Alamo Hotel? It was right on the corner on 6th, by the main post office          downtown. Lyndon Johnson’s brother lived there, there was a restaurant in the basement and this beautiful little bar. This guy Martin, and Bobby Nelson, not Willie’s sister, she was a lawyer. They had a bar there that was a listening room, I’d never played in a listening room. In fact the first time I ever sang in public was there, I did a Jimmie Rodgers song. It was just so different back then, there was so much space. I mean when the students would leave in the summertime, the streets were pretty empty. Obviously it’s much larger now, more populated, but I think the soul and spirit of Austin holds true, ya know? Even if we have a different skyline now it’s still my favorite place to live. I love calling Austin home.

AD: On the Sensitive Boys name

After Real Animal, we found a new bass player, Bobby Daniel, from    Birmingham. I actually met Bobby when I was working with Amy Cook on her record. I loved the way he played, I loved the way he looked, his      attitude, all the references I had in my music, he was aware of. It was just a natural fit. He became a member of the band. We had just been working on Street Songs of Love and I wanted a name for the band,            I wanted it to be after the song Chuck Prophet and I wrote about True    Believers and Green on Red, those guys. The Sensitive Boys is just about all these guys I used to criss-cross around the country with, meet up in rest stops, and gas stations and restaurants and clubs. I thought the band that I have now deserved that name.

Punk Rock Roots

Philosophically I think it influences me, this is also from soul music and the blues, but a vision that the performer is never more important than the audience. There’s no line. We are all there to feel something.               The other part of punk rock is to tell the truth, to be      honest. Finding interesting and honest ways to express what you’re feeling. It doesn’t have anything to do with technicality, or the ability to play, it’s just if you can find  something that makes the right sound to     accompany a thought or idea that you want to express to people, then you are absolutely more than welcome to come and do that.

Future of Austin Music

There’s all kinds of great bands, lots of great variety, The Ghost Wolves, The Strange Boys, White Denim, I love Ghostland Observatory. There’s all kinds of stuff all around.  There’s just this whole new generation. Last week we played a benefit at my daughter’s school. This boy came up and sang Down In The Bowery and he was unbelievable, incredible. I think the Austin music scene is in good hands.  I’m pretty much on the other end looking back, I can pretty much pass the torch. The young bands are leading the way. Now I get to just really use the tools I’ve gotten over the years, make the albums I wanna make.  But it’s a young man’s game. Obviously for me, I am still ready to play music, I’ve been able to witness a lot of really good bands come out, it’s always mutating, its always changing. I love all the young musicians that I’ve come across. Young bands have it different these days, they don’t have to tour and tour to find an audience.  With technology, it’s a different thing, but I love some of the music I’m hearing today.

On playing the Continental

I can honestly say the Continental is my favorite club in the whole world. It’s like a home, like a family, so when I think of Austin I think of the      Continental. There’s other great clubs, no doubt, Cactus Café, especially in the heyday, Antone’s when Clifford was running it, it’s still a great club. For me I’ve always been drawn to The Continental Club and everyone that’s been involved. They’ve become very much a family. I love doing  residencies there, I did a long one in the 90’s for about a year or so, and now we do Tuesdays whenever we can.  It’s just great to see   everyone come out, we have a great time. We’re so comfortable in a place like that, it makes me do things, like the Street Sessions on South     Congress, and when we’re experimenting with new material in front of an audience.

On Stephen Bruton

I was living on this street, La Casa, down off South Lamar. This           wonderfully fit and beautiful guy used to run by everyday. I was very    suspicious of him, didn’t know what his deal was, I kind of thought he was a drug dealer or something. I remember he’d invite me over to       parties, and I wouldn’t go cause I wasn’t quite sure what was going on over there. When my wife passed away in ‘91, he’s the one who really helped me through all of that, spiritually, emotionally, creatively. He kind of picked me up by the shirt collar and just said, come on, we’re gonna go make a record. And he suggested to Waterloo records that we should make a record. That was the first.  Over the years he just became a true brother.  I miss him everyday.  Before he passed we would always talk about making a  secret album, one no one would know about, no record company,nothing. We never got around to that, but we did write a song that was on his last Resentments album, Roselight.  I got to spend time with him in the end. No matter how bad he was feeling, if the guitar would come out, he’d turn into this young boy, his eyes would light up, and he’d be happy to talk about music in any form. I remember I was producing Amy Cook’s album, he coached me a lot during that period of time.

Where his music is now.

I feel ready for any challenge.  Having worked with Tony Visconti, who made my favorite records ever, John Cale, obviously, and my favorite band of all times, The Velvet Underground, and of course Stephen      Bruton brought beautiful musicianship and arrangements to my music.  Through all those experiences I’ve gained confidence and I’ve learned. It’s a good place to be.

Right now we are experimenting with rhythm a lot. One of the things I’m striving towards is people dancing at my gigs. Finding rhythms that will allow the audience to find those moments, like in reggae or R&B where you just have to move. But I still want to tell stories.

New Album and Writing Process

The last three albums I’ve co-written with other people. Prior to that I did some writing with my brother Javier, some with Steven Barker, I wrote the majority of it on my own. When Real Animal came about, I knew I needed some help on that one. So Chuck Prophet and I joined up and that began a really fruitful songwriting partnership.  This record, I’m  writing a little with Tony Visconti, and the band also.  I’m enjoying that part of it. That’s how my songwriting has changed, its more collaborative, which I really enjoy.

We’re trying to work on rythyms in a way we haven’t before, so hopefully this will be more rhythmic, and maybe a little more raw than the other records.  You never really know, records are always mysteries, you go in with the best intentions, and think you’ve got it figured out, what you want, but its always mutating. Wanting to be really honest in that moment.

After the Meteor Showers

The idea originally that was in my head, I wanted to write a song kind of like a Velvet Underground song, like I’ll Be Your Mirror, or Pale Blue Eyes, and at the time I knew someone who was extremely beautiful in my eyes, I wanted to do a meditation on someone’s beauty.          I can’t get specific about it, but I can tell you it was about beauty.

On his growing audience

It affects you in the way that you get excited, a little more pumped up, eager to try new things, create music that is both fun and yet gives      people something to take home with them. It’s funny, it’s coming at a good time for me, I feel good about it. Twenty years ago, I may have been uncomfortable, I don’t know that I would have enjoyed it as much. That’s how Austin ties into this, and another reason Austin is so great, we’ve been able to experiment a lot, with different styles, musicians, everything from orchestras to string quartets. David Pulkingham and I play a lot of duet shows. There’s been just an abundant wealth of musicians to work with, it’s been a lot of fun.

Anything else?

I love your magazine. I’m glad you guys are around.

Favorite John Belushi quote?

“Hamburger, Hamburger, Hamburger”

I couldn’t resist the opportunity to feature beloved Seattle artists, Jesse Sykes and the Sweet Hereafter, and their entrancing track “Come to Mary,” off the band’s new disc Marble Son.  (After all, look who’s writing this post!)  With its somber, longing vocals, soulful melody, and dreamy psychedelic sound, I find myself humming the tune throughout the day.

This amazing new CD takes the band in a heavier and more psych-rock direction than the alt-country leanings of their previous recordings.  Sykes and guitarist Phil Wandscher co-wrote and co-produced Marble Son, infusing the album with dark, driving guitars to complement Sykes’ mesmerizing vocals.  After giving “Come to Mary” a listen, don’t be surprised if you are compelled to seek out the entire album.  I hope enjoy this as much as I do!

“Come to Mary” by Jesse Sykes and the Sweet Hereafter

5.0 McRiprock’s

www.amplifiedheat.com

Dan Cioper—Warrior Utopian: Cioper’s album envisions building a better world—a multi-genre portrait of a man’s love and passion containing songs of revolution and love using all styles abound, rock, pop, soul, fun and reggae. The album includes performances from Austin musicians, Mark Wilson, Steve Carter, Richard Bowden, Ephraim Owens, Kris Brown and Rick Plester.

4.0 McRiprock’s

www.danciopermusic.com

Bravo Johnson—Come Taste The Sun: Merging borrowed sounds of the Byrds and Zeppelin is a mixture of classic rock and Americana with a bit of jam band thrown in. The first album, The Crooked and The Straight, was a 27 track double album that earned press and radio airplay. This album, although, holding the blues/rock feel of the first release, adds a layer of psychedelia and moves more deeply into classic rock.

4.5 McRiprock’s

www.bravojohnson.com

Michael Fracasso—Saint Monday: I love this album! You may have heard some tracks on KUT—with guests including Patty Griffin, Kevin Russell, Jimmy Smith and long time collaborators George Reiff and Mark Patterson on bass and drums.  This album marks an experimental path for Fracasso. He calls in his friend and novelist Jim Lewis to produce and play the record. Strongest tracks are, “While The Night Is Young—“ anthem/life soundtrack vibe that is catchy and upbeat.  “Elizabeth Lee,” with a hard hitting back beat and a Dylan-esque vocal beginning that picks up the pace and adds in some instrumentation further along that creates a crossroads of Americana with some experimental rock and roll all the while with the back beat churning along.  “Saint Monday,” is a sweet, soulful song that emits loneliness without going sappy on the listener.  The entirety of this album is a creative and less conventional celebration of what music is by a true, weathered musician.

5.5 McRiprock’s

www.michaelfracasso.com

5.0 McRiprock’s

www.phillipbellmusic.com

Jimmy Dasher—The Waiting Game:  Calling in almost all genres (folk, soul, blues, jazz, funk, country and indie-rock) Dasher takes these influences along with the strength of his songwriting and his debut album is born. He’s been kept busy in his other projects including an independent acoustic duo, Window, and as a member of Levi Smith’s band. The Waiting Game is indie-pop, but it includes moments of Americana and Southern Rock. The joyous part of this album is that the majority was written while living in isolation in a West Texas cotton field with only his dog and guitar as company. Brilliant! “Get Burned” and “Square One” feature catchy lines and guitar hums and haws. “You Say You See Me” and “Wish I Was In Heaven Sitting Down” clearly tracks Southern Rock and Americana influence. There’s mastery in Dasher’s guitar skills– a nice accompaniment to his powerful vocals.

4.5 McRiprock’s

www.jimmydasher.com

Tori Sparks—Until Morning/Come Out of the Dark: Singing in English, French and Spanish, Sparks spends the majority of her time on the road playing shows that finely balance soul and hilarity. Her combined talent and entrepreneurial spirit has kept her busy with interviews and appearances with well-known radio stations, mags and newspapers. Her songs have even been licensed to TV giants such as MTV, Lifetime, Oxygen and others.  This is not a traditional album, but a double-EP. The first disc reflects the dark and sensual dynamic of Sparks’ vocal and songwriting skills. Check out “Mama,” for a good sampling. The second disc, is Americana meets folk—the first track, “My Delilah” reflects the polarity of the first disc. She hosts a cast of talented musicians, Mike Farris, Shawn Mullins, Paris DeLane and David Mead throughout the recordings.

5.0 McRiprock’s

www.torisparks.com

4.5 McRiprock’s

www.charleyorlando.com

Susan Angeletti—Wisdom:  A vocal powerhouse on the blues scene, Angeletti takes her sophomore album to a different level. Likely the help was from a bi-coastal tour stopping at historical musical haunts and sharing the stage with Ian Anderson, BB King, George Thorogood, Wilson Pickett, and Sam Andrews. Title track, “Wisdom,” is timeless whereas the album’s closer “Got to Have You Baby,” rolls along with a driving guitar and a vocal track that channels a bit of Pat Benatar and a bunch of Janis Joplin.

4.5 McRiprock’s

www.susanangeletti.net

TR3—From SPACE and Beyond: The Tim Reynolds Trio is known for their fusion of funk, rock and jazz. This record is a goldmine for those electronic rock lovers. Check out tracks: “Do You Wanna,” including vocals that are smoky and reflect Reynolds’ softer side. “Mercury Direct,’ features a drum sound that is directive and hard to get out of your head.  A second, shorter disc, is included and is a little colorful and handles commentary on everything from sexuality to politics. It’s a two-disc blast that is edgy and a phenomenal live recording.

5.0 McRiprock’s

www.timreynolds.com

www.empirates.net

4.5 McRiprock’s

Isaac Allen: Don’t Smoke—At 24-years-old, Allen puts out tracks of heartache, addiction, death row and back alleys. His lyrics coupled with melding jazz and blues is an experiment in the darker sides of life wrapped in a warm bluesy soulful rasp.

www.mrisaacallen.com

4.0 McRiprock’s

Boy With a Fish: I Put My Tongue On The Window—At their sophomore album they’ve brought a richer musicianship and creative vision to this album. This band has created buzz in the big boys of magazines (Rolling Stone) and Jeff Claus on guitar and vocals has been recorded by a slew of famous faces and names. The album is packed with haunting atmospheres and driving grooves. It’s a touch indie without being overwhelming.

www.boywithafish.com

5.0 McRiprock’s

TONI:  I  WANTED TO MAKE SOMETHING WARM    AND  COOL,  SWEET   AND SATISFYING, LIKE  ICE        CREAM ON   A SUMMER SUNDAY  AFTERNOON.

So, I have been told I might be biased.

Yes, I have been to a few of her shows and yes she is a  friend, but biased no. If this disc sucked, I would tell ya. It is   pretty darn good. In general, I  am not a huge fan of   Toni’s CD’s.   I prefer the live shows much more. Glad I live in such a place where I can speak   that statement and actually follow it up  by going out  and seeing things live. The improvisation of any live  show never gets old.  The musicianship  on all her cd’s is stellar, alwaze has been and continues with this  new  release. Gathering all this talent requires magic  schedules and   a     huge  studio.  That is mainly why is why  her previous cd’s  don’t do it   for     me. With  a   few exceptions, most tracks  have felt  like studio  work. It’s  all too clean and too package perfect in my opinion. Radio  stations love that stuff   and       I  guess  most people   do too.    I      guess     if   I didn’t   live here,  I would     too. Gwil Owen is one  of the best songwriters I  have found,  he fits  Toni to a T.    All that  said, this    new CD has something. It feels live.     I put it in, close   my  eyes   and  am transported to a  packed, old school jazz  club. Dark and   smokey is  the   scene as the band belts out   the tunes. The joint starts to swing. The songs just flow into     each other. When    a disc   can  transport you,  you know    it’s   something good.  It is  good.  Many of my favorite players are on  this  recording. I still prefer the real  experience, but if I  am out of town or on   a road trip, this CD will be there.

This CD will be   available at the Continental Club, Ebay  and Waterloo Records shortly.Pick (UP) one or some up todaze.

5.0 McRiprock’s

www.nojustice.com

Horse Opera—Sounds Of The Desert: Heavily influenced by the 1950’s/1960’s country music (read: honky tonk) with a bit of an edge completes the sound of this band firmly based in classic country.  Born in Austin, Horse Opera is made up of veteran musicians that came from the punk and rockabilly genres and graduated to country. Classically playing Texas beer joints and dance halls to get their legs, they have just stumbled onto their first studio record. The band boasts traditional arrangements with lyrical accompaniments that include all sides of the human condition.

4.5 McRiprock’s

www.horseoperamusic.com

Miranda Dodson—Change a Thing: Simple, pure, alt folks with a bit of progressive edge greets the listener of Miranda Dodson.  Dodson chose a producer for her album that was first and foremost an artist (Robert Harrison of Future Clouds & Radar & Cotton Mather).  With Harrison’s experimental approach and Dodson’s pretty, hypnotic vocals it’s clear that the match was a good one. Although this is Dodson’s first full-length record, she has recorded previously with self-releases.

5.5 McRiprock’s

www.mirandadodson.com

Ouachita—Self-Titled: This album is pure. Driven by roots with a deep soul and foot firmly planted in the Southern Rock movement. The music is a medley of hard core Southern Rock, Blues and a bit of R&B.  They call it Southern Rock n’ Soul. The album features LZ Love singing background on a few songs on the album.

4.0 McRiprock’s

www.ouachitaband.com

The Literary Greats—Ocean, Meet the Valley: A darker and deeper turn by The Literary Greats on this album make it a piece of work to listen to time and time again. They had a single goal when they teamed up with their engineer and producer, Chris Grainger—bring out the best in each other. With ten long days of recording they took their year of life, loss, love and dreams and put out a record that reflects just that Additionally, they held high vintage sounds by using 1970’s era equipment. Their website states, “take the raw energy of the Pixies and mix it with the understated themes of early Kenny Rogers and you get something like this.” We couldn’t agree more. And we like it.  A lot.

5.5 McRiprock’s

www.theliterarygreats.com

4.5 McRiprock’s

www.mainlylanes.com

Kristen Miller—Walk: Using a 1900 Parisian Cello Miller creates the full sound of a complete band. Accompanying the sounds from the cello is Milller’s voice both spoken and sung. A haunting melodic sound is created in combination and elements of jazz, folk and world music is displayed. The album includes eight original compositions and two covers (including the Eurythmics “Sweet Dreams”). Her interpretations of the covers are refreshingly elegant.

4.5 McRiprock’s

www.cellowbrew.com

Matt Bunsen and the Burners-Greatest Hits: Although a debut release, Matt Bunsen decided to release the best songs from every album he plans to release, even before the albums are released themselves.  Additionally, the band coined a new sound that they call “Americana 2.0.” Years on the road prepared this band to take a tongue-in-cheek approach when creating music. With songs titled, “Beer,” “Life on the Road 2.0” and “Drugs Make Me Happy,” the band pounds the endless road with their twangy, country-rock infused jangles that are light on the lyrics and musically sound.

4.0 McRiprock’s

Htttp://MattBunsen.com

The Toughcats—Pinata: Old-timey bluegrass crosses paths with a pop sensibility and a folky friend to become the Toughcats’ sound.  They have shared the bill with The Mammals, The Avett Brothers, The Red Stick Ramblers, Kathy Mattea and others. They tour regularly promoting the album, which was so well liked as a rough cut that it was mastered by Karmaer (producer and former Butthole Surfer).  The sounds are masterful and backed with the classic banjo and guitar. It is pan-genergic music (a compliment), but still respectful of and pays tribute to the greats.

5.0 McRiprock’s

wwww.toughcats.com

4.0 McRiprock’s

www.myspace.com/northernparadox

Somebody’s Darling-Self-Titled LP: Dallas, TX is no slouch in producing bands that garner attention. This band is no different. In fact, they’ve put quite a few notches in their proverbial musical belt in the last few years—one of which provided them the opportunity to secure a recording contract with Shiner Records. The four-piece rock band has country sensibilities and a sense of themselves to boot making them a local favorite and gathering a large, diverse fan base in the making. Forming in 2007, they quickly began to make a name for themselves. They have supported artists like Ray Wylie Hubbard, James McMurtry, Lucero, Corb Lund, Stoney LaRue, Walt Wilkins, Same Roberts Band, Sleepercar and more.  Each member is fully capable of holding their own—lyrically, vocally and instrumentally. Their self-title LP is a magical blend of country, roots rock and plain ol’ good times.  They intertwine their musical talents beautifully and without much fodder. They play out authentic effortlessly.

5.0 McRiprock’s

www.somebodysdarling.com

Tennis System—The Future of Our History: To best describe this band it’s important to know just what happened during this year’s SXSW. They were shut down. Twice. Due to noise complaints. Not only do they do loud, they apparently do it quite flawlessly. Even though loud as hell, they manage to tuck in songs that are precious and pop tunes that are catchy throughout. They are able to mix high energy with a chill, ethereal temperament.  Together since 2008, they’ve opened for bands like Japandroids, Pains of Being Pure at Heart and Harlem.  They power the album with their thundering drums, bass, and two guitars full of distortion-like antics that play out well. Exported out of Washington D.C. they are apt to follow well in their predecessors footsteps (Sonic Youth, Dinosaur Jr., and My Bloody Valentine) as their sound is both on par with powerful instrumentation and extremism.

4.5 McRiprock’s

www.myspace.com/tennissystem

The Figurados—Lesson Two:  Two men, Timothy Abbott and Gregg Kirk come together again to define their version of alternative classic rock with “Lesson Two” their follow-up to their debut album “Divine Spirits, Holy Smoke.” They pull songs throughout the album that have a broad range which sometimes leaves the listener a bit focusless dabbling in everything from ‘80s power pop, gospel, traditional rock and blues of the Texas persuasion. They came together after various individual efforts with other outfits and use their vast experiences to express angst, urban depravity and pure Texas. They state that their albums are “meant to be played at maximum volume and savored… like a fine figurado… preferably with a glass of absinthe or a choice Belgian beer.”

3.5 McRiprock’s

www.25smokingfigurados.com

Those crisp cool nights back in November & December flood on in. The time passed through our dancing bodies, oh so fast. If you were one of the fortunate souls to be at The Continental Club you know the magic on this new cd by Alejandro Escovedo, called; Street Signs of Love. Last November AND In to December he played a stint of Tuesdaze nights after Toni Price. I was waiting for a ride to snag me so I stayed for the first one. I knew who Alejandro was, maybe had seen him a few times, but nothing really stuck with me. He started and I was sucked in. Needless to say, I did not miss a gig after that first one. Anyway, at these shows he would introduce two new tracks from the (yet to be recorded) new cd amidst his repertoire. Magic ensued. So,  I knew for many months that this cd was going to be amazing.His   backup band,  the sensitive boys and sensitive girls are smokin. The Boss  (Bruce Springsteen) sits in on a track.    Yes it is that cool. It is also produced by Tony Visconti! This disc is gold. It ranks up  there among the greats in my cd  collection. Part of this disc includes the lyrics to each tune. You just don’t get that in cds anymore.  I  thought I  knew the song but they become cooler when the real words are seen.  Cooler and shattering at the same time. The riffs of “AFTER THE METEOR SHOWER” send me into a state of beauty and lost love. Really an   awesome piece of work. Powerful. I am full of joy and tears when i listen to         this cd. We plan to interview Alejandro  when we can  catch him………………… GET THIS DISC!

It happens.    Had this disc in plain site, wrapped for some time. People kept telling me about it. Shit just kept me from opening it, or getting it to HUX (cd reviewer). Today I got to it and gave it a spin. Actually, that was a few hours ago and it is still spinning. God damn yall,  this is the funk! If you dig funk like I do, you gotta pick this up. My experience with this genre of music is that the live shows are always way better than the recorded material. I think it has something to do with the room left for improvisation at live shows and the energy and groove of live expression. Yes, yes I am a spoiled bastard to have the luxory of catching live shows on a nightly basis. That’s why I live in this town. I know many of you agree. That is why the heat  doesn’t bother me that much. Do yall remember GNAPPY? I liked that outfit. Two guys from that band are  behind FLYJACK, Brad and Buck. The players on this cd can be caught in  many different jams on a nightly basis. The drummer here used to be the beats for JAMES BROWN. This cd is damn good. My only complaint is that it is too short. That issue is solved by putting the repeat/shuffle function on. This is a groovy disc. “Ain’t it funky now” is my favorite track.  I wanna catch a live show. The Momo’s stage would be a nice fit. Maybe double billed  with BROWNOUT!, Akina Aderly and the Vintage Playboys, Hector Ward & the big time or Bruce James Soultet. The choices are endless. I just hope  FLYJACK plays more often.

FLYJACK PAGE

5.0 McRiprock’s

www.myspace.com/the44music

The Literary Greats–Ocean, Meet The Valley: Out of Houston comes this band that managed to climb its way to debut 153 on the CMJ 200 while unsigned. Not too shabby. The band puts together a sound that is Texan at the core with a rock back and a sprinkling of Americana and alt-rock somewhere in between.  Differing from their previous release, each song on the album was written as a group. There’s an underlying darkness in the album, but it isn’t so palpable that it makes the listener uncomfortable, it’s perhaps more of a feeling of longing that comes through. Opening with “That Mountain Yonder” the album folds you in quietly and then starts smacking you around a bit with the sharp percussion and moody guitar riffs. That opener is the first of many treats on the album. Wisely blending poetic lyrics to an addictive musical backing that grips you is this band’s strength.

5.5 McRiprock’s

www.myspace.com/theliterarygreats

Jeffrey Moon—Conscious Pilot: Moon is a sing-songwriter. But he’s also a bit more than that. He primarily uses a nylon-string guitar and ‘no picks’ approach while interweaving vocal and guitar lines. His sound is soft and his voice generates a bit of the old Cat Stevens with a range to match. His CD plays beautifully, melodically and captures the listener in its sweet simplicity.

5.0 McRiprock’s

www.jeffreymoonmusic.com

In case you lead a sheltered life, Grupo Fantasma is Austin’s premier Latin Orchestra – which puts them high in the running for best in America. Seeing them play live is a magical thing that will keep you moving and sweating and always wanting more. They have been getting lots of well deserved national attention, especially after the release of their last album, the Grammy-nominated Sonidos Gold.
What I like about this band is their amazing ability to blend funk, rock, techno and psychedilia with traditional old school salsa in a completely respectable way. The result is a progressive high-powered soulful sound that has been shaking clubs all over this great land for 10 years now. This is not an easy feat – most often when traditional music is blended with modern sounds the result is a cheapening of both. This does not happen in the masterful hands of Grupo Fantasma. (Tito Puente and Celia Cruz would be very proud…)
El Existential begins with a simple trap set beat playing a funky hip-hop rhythm, then a distorted power chord comes in, then it busts into full on Latin fury that tells you where their hearts really are. The horn section in this band grabs you and never lets go (There is something about the sound of a baritone sax, trumpet and trombone, and the crack of the timbales that lets you know who’s boss.) Guests include Curt Kirkwood of the Meat Puppets and salsa legend Larry Harlow.
Stand out tracks are: Realizando with its funked out intro, El Consejo’s fast tempo and blazing horns, Montañozo with its Spaghetti Western guitar, Calor’s psychedelic feel and once again, those amazing horns, and Araña Cuña’s lose, ambient intro blending into an Afrobeat monster complete with call and response lyrics. The sound is as big in the studio as it is on the stage.
In all honesty, this album may not be as strong as their past releases, not as focused and with a few more mellow interludes than I’m used to from them. But saying that is like saying “Here’s the keys to a Maserati. It only has 700 horsepower, instead of the 725 that you’re used to.” It’s still an amazing piece of work from one of the most powerful musical machines you will ever hear, which means you should buy this CD now.
Grupo Fantasma’s ability to modernize such a traditional style as salsa music makes them one of the few true innovators of the genre today. In a world filled with bland mechanical over-produced pop music, I hope there will be several more decades of Grupo (and their alter-ego “Brownout”) to come.

Maria Mesa

SuperLiteBike from AMFM STUDIOS LLC on Vimeo.

SuperLiteBike debuted their new Cd “Away We Go” at the Parish to an enthusiastic crowd. When you see this band you might be thinking, whoa…that’s actually Pocketful of Deng, and a new guy. You’re right. It’s Pocketful of Deng with a new attitude and new sound, thanks to the addition of Chris Heckendorn. These guys have some very funny video “flyers” like this. More information on SuperLite Bike at their official website

Wearing knee-high boots and shadowed by an upright bass, Margo Valiante took the stage at Momos for her long-awaited debut CD release. The venue was packed with bodies tapping their feet and swaying back and forth creating an impermeable heat untouched, but created by  “I Can’t Pray.”

Her album reins in with a deep, sultry voice embodying Norah Jones, but better. With a twist. With a stronger, deeper sound and more range. She encompasses a swinging, jazzish-blues background wrapped with Texas country roots. Surrounded by keyboards, upright bass and drums, Valiante easily slings acoustic and electric guitar all the while crooning and swooning her listeners.  Her slight frame commands the stage with a big voice and her impeccable range is jawdroppingly sparking in its exactness, especially as a live performance. Her songwriting is touching and sincere in it’s composition with the music carefully crafted around it.

Coming to Austin after spending years in Jackson, WY honing her craft with a stint at Skidmore College as a classically trained vocalist she begins her journey of getting her name known and her music heard. Margo says she felt that coming to the Live Music Capital was a trek she needed to make to “gain the confidence to perform only original material. It’s a mecca for original tunes and supportive, intelligent audiences.” And it’s paid off. In 2009 she was a top ten finalist at the Wildflower Festival Songwriting Competition. She has opened for talents like the Yonder Mountain String Band, Joe Ely, Gurf Morlix, James McMurtry and Tift Merrit.

www.margovaliante.com

5.0 McRiprock’s

www.thesideshowtradgedy.com

Fresh Millions—Self Titled: Austin’s trio Fresh Millions has been money in the making.  It had to come a long way starting with Geoff Earle. Early days include trying his hand as a pop producer, Columbia Records, and finally, the formation of Fresh Millions. It’s an electronic band with a sound that’s not exclusively dance or electronic, but a careful blending of both and they happen to capture your ears quite easily. Often compared to Caribou, Yeasayer, Passion Pit and Ratatat they are able to stand alongside their possible influences all the while holding their own ground quite strongly. Insect Records released their first album with a debut party on May 7^th at Scoot Inn. They have a fresh sound that is unbearingly catchy. A live performance would be a treat.

5.5 McRiprock’s

www.myspace.com/freshmillions

Miguel Kertsman—Time? What Time? Brazilian-born composer and virtuoso releases an album beyond categorization. It is a voyage into soundscapes that are both fascinating and dark. It is an atmospheric album with tone changes throughout. He explores different ambient sounds using lush string ensembles, vintage synth beds, baroque voices, and a full symphony orchestra. “Promises, Lies and Deception,” holds to an acid-jazz piano structure, whereas, “The Drifter,” produces a prog-metal sound.

5.0 McRiprock’s

www.miguelkertsmanmusic.com

4.0 McRiprock’s.

www.myspace.com/freddiesteady

The Chimeras—Her: Philly-based Chimeras spent five months to record their sophomore album with a theme comprised of thirteen female character sketches. Largely inspired by women in real life, books, movies, and certain characters that appealed to the band, they took their ideas and ran with it.  The album is tailored rock with fringe lyrics that clatter with a recording basement groove.  Many reference the band to a Rolling Stones sound, but they also invoke rich imagery and metaphors.

5.0 McRiprock’s

ww.myspace.com/thechimeras

Robert Lusson & The Social Beat—Loveland: Lusson has built his career around using his musical talents to address the issues of society. Loveland continues this feat. He keeps the genre jumping with variations of sounds throughout. From psychedelic folk-rock to soulful grooves to sometimes sad, scratchiness, the album plays out beautifully. The songwriting on this album is strong and the music follows in suit.

4.5 McRiprock’s

http://thesocialbeat.org

Tyler Fortier—This Love Is Fleeting: This is a record about mourning.  It is an album that’s worth dissecting and listening. Using an underground introspection on Americana it delights and feels timeless. This being Fortier’s fourth record, is set for release April 15^th.  Hailing from Eugene, OR his sound is strikingly similar to the roots rock of legendary Neil Young with a bit of a modern edge. The album was recording partially in the studio and partially through home recoding.

5.0 McRiprock’s

www.tylerfortier.com

The Window Silhouette—Don’t You Want Oblivion?: Austin, TX is known for its music. In fact, it seems, that in order to move here you must have guitar in the backseat in order to gain entrance into the city.  The Window Silhouette is another unsigned Austin creation. With jangily guitar rock and catchy lyrics it seems the band is channeling a little bit of Spoon with their own twist on things. What is produced is an album that is well worth tuning in for. Trickling through Austin venues where they showcase their sound to Austinites and other fellow music lovers, the band is steadily gaining a foothold.

4.0 McRiprock’s

www.myspace.com/thewindowsilhouette

www.myspace.com/explosivesaustin

Indubious—Cosmic Seed:  Oregon-based reggae trio, Indubious, named their band such to mean to live without doubt and fear, with a full respect for all things, good and bad. Through channeling the power of their music, the band is elevating the global consciousness one person—and one song—at a time. Their newly released sophomore album, Cosmic Seed, is an inspiring voyage through music with each track infused with a positive vibe and a message of change that is expressed through meaningful lyrics on top of danceable rhythms. 4.0 McRiprock’s

www.indubiousmusic.com

Brendan Kelly—Music From The Motion Picture: A self-taught musician, Brendan moved to Austin to pursue his career as a singer-songwriter. He worked with producers David Messier and Andre Cantave of Same Sky Productions. His debut album was written in just 72 hours and was recorded, mixed and released within two months. The music was just pouring out. His music is guitar-driven rock, rhythm and blues. His voice and swift guitar can turn a club to a juke joint, to a rock hall, to a church and back again. His songs, his stage, and his guitar are speaking from a soul full of musical tradition far beyond his years. 4.5 McRiprock’s

www.brendankelleymusic.com

Ruby James—Happy Now: With smoky harmonies and a real sense of soul, James debuts her sophomore album.  Produced by Charlie Sexton, the album features both Charlie Sexton and Will Sexton playing bass, guitar and drums along with Mike Thompson of the Eagles on keyboard. Born out of the “Austin Sessions” that took place over three years, James deems this album as her most serendipitous and satisfying effort yet.  The album is set for release on March 30^th.  She currently holds a weekly residency at Maria’s Taco Xpress every Thursday night featuring a rotating roster of guest artists.

5.5 McRiprock’s

www.rubyjames.com

El Tule—Volumen I and II—For six years El Tule has been honing its unique sound and combining the influences of Cumbia, Afro-Cuban, Rock, Merengue, Salsa and Reggae.  The music is largely shaped by art, culture, history and likely focuses on legends and tales of the mystical.  The sound that El Tule brings to each performance is transcendent and crosses all cultural and social borders. 4.5 McRiprock’s

www.eltuleband.com

Billy Jones—The Billy Jones Story: Out of Arkansas comes Jones who brings music back to the time where Hendrix and Stevie Ray reigned supreme. He trumps the listener with a refreshing array of sounds from healing blues, jazz and funk. He mixes traditional blues and employs an urbanization of soul that makes him a talented artist on the contemporary scene with extraordinary talent and command on stage and off.  5.0 McRiprock’s

www.myspace.com/billyjonesbluez

Tom McBride & the Whig Party—Like a Lion:  Faking you out and sounding like a seasoned vet, this is McBride’s first full-length album.  This D.C.-area songwriter brings indie into the forefront without apology. Like a Lion catches the listener with familiar pop hooks and catchy harmonies glued together with gentle songwriting and enveloping you with a big bad sound.  4.0 McRiprock’s

www.myspace.com/tommcbride

Zane Williams–The Right Place: A self-described “late bloomer,” Williams admits, that after moving to Nashville in 1999 it took him nine years to find his musical soul and sound. And it sounded a whole lot like Texas. Williams honed his songwriting and performing skills on the road at over 500 colleges nationwide and claimed top honors from the John Lennon and Nashville Songwriter’s Association song contests. Now residing in McKinney, TX, he brought on board writer/producer Radney Foster to record this album. www.myspace.com/zanewillaims

4.0 McRiprock’s

Tin Can Phone—Self Titled EP: An explosive four-piece rock reggae band out of Austin that fuses the energy and drive with effects of heavy vocals and melodic guitars. Drawing influences from such bands as K-OS, RX Bandits and Pepper, their first studio produced five-track EP was recorded at The Recording Conservatory of Austin. Released on October 9^th, TCP is a combo of rock, solid rhythms, vocal hooks, tight harmonies and guitar battles that excite and audience that has become a consistently growing fan base. The band has toured throughout Texas, Austin and as far north as Chicago, it found the time to dedicate itself to produce a proper studio album and establish itself nationally. www.myspace.com/tincanphonemusic.com 4.0 McRiprock’s

Amanda Pearcy—Walkin’ on Sunday: Celebrating her first debut CD at the Cactus Café on October 16^th, this is an album that tells Pearcy’s story with grace and authenticity. She takes stories of her life and weaves them into beautiful crafted pieces. Never formally trained, Pearcy taught herself to play after many years of keeping her creative force tucked away until life shifted her in the direction to begin playing her own music. Living through some rough times, Pearcy reflects, “I’ve done a lot of livin’…been on some rough roads and I figure I have a few yet to go. But I’m blessed beyond my wildest dreams all at the same time and that’s something I don’t take for granted.” www.myspace.com/amandapearcymusic.com 5.3 McRiprock’s

The Avett Brothers—Looking for I and Love and You: This is their big label debut with a its 13 songs that are delivered in a style that defies stereotyping, but could be described possibly as a roots amalgam of folk, country, bluegrass, rock and pop with even a jab of punk thrown in between. Their songs have a naked honesty about them and their shows are rousingly intense and because of this, legendary Rick Rubin signed the Avett Brothers (consisting of brothers Scott and Seth, plus bassist Bob Crawford) to his American Recordings label in 2008.  Rubin says, “As soon as I heard the depth in the singing and songwriting, I was in for the ride. Their songs have such a sincere emotional resonance. The purity of the messages stops you in your tracks. It’s unusual to hear such open-hearted personal sentiment from young artists today.” Before Rubin, the Avett Brothers had done quite an impressive job— already issuing five full-length albums and two EPs on their manager’s Ramseur Records label. They debuted in 2001 with a self-titled 6-song EP and then went for a full-fledged album. Their latest release pre-Rubin, an EP called The Gleam II reached an impressive #82 on the Billboard’s Top Albums chart in 2008—not too shabby for an independent CD with little marketing and promotion behind it. Formed in 2001 in Charlotte, NC when banjoist Scott Avett and guitarist Seth Avett joined forces with standup bass player Bob Crawford. They began with a neo-punk band called Nemo. They eventually began to feel the tug of acoustic music they’d heard growing up and in 2001 they launched the Nemo Back Porch Project for which they added upright bassist Crawford.  Their Avett Brothers, Rubin backed release is out late September, but in early July they released a snippet of their record with “I Love and You,” an astounding track that is heartfelt and simply beautiful. www.theavettbrothers.com

5.5 McRiprock’s.

A Bad Think—Simple Rhymes: Based in Virginia beach, the band is a studio-only project that delivers richly crafted musical texturing with airy and heartfelt vocals. The conceptual basis of the band is the exploration of the bittersweet sides of love, death and sadness with the intent of making the listener see these things in a positive light. Three years after their self-title debut, the band has released a new collection of songs. They rely on a highly polished production aesthetics covering a broad spectrum of sounds with an energetic progressive rock and new wave sounds that harkens back to the best moments of the 80’s, but they also have mellow flashes of acoustic guitar and acappella vocals. www.myspace.com/abadthink

3.5 McRiprock’s

Nine Even—Seamsan Over: Defying convention and drawing on elements and influences from across the spectrum of the modern, they hit hard with unique sounds and arrangements that pay homage to may of the greats while in the process creating a sound of their own. The word “Seamsan” is Gaelic for hesitation, appropriately named after spending over seven years writing and producing this debut release. They are a tight group of players that each add their own flavor to the mix. Guitarist Mike Lauchli and drummer Scott Garrett hold down the core of the group while the dynamic front man Chris Chard has a vocal sound that fuses the inflection of Tool and Incubus. He also assists with the keyboards and programming for the record. They also draw influence from groups like System of a Down with complex arrangements, epic buildups and unexpected song forms. They include an industrial bite to their tracks that are similar to Nine Inch Nails and the create use of sound design similar to Radiohead. Songs like “Search” and “SKRape” are full-force musical assaults, but there are also more mellow track such as psychedelic ballads like “Bumblebea” and “Friend of Friend” bringing the band’s full spectrum out. www.myspace.com/nineeven

4.0 McRiprock’s