Flanfire

So I was at Momo’s Club tonight (Monday) and ran into my pal Ben Mallott, and he was telling me about his trip to Dallas to see the Longhorns beat North Carolina at the new Cowboys Stadium on Saturday and how after the game he was trekking about town and ran into Graham Wilkinson who was playing a show there.  And so I got the message that it was long past time for me to post comments about Graham’s (to date) masterpiece, “Yearbook,” which Graham had given me a copy of (late even then) at his Halloween party at the Ghost Room.

Truth be told, one reason I had not reviewed it was it has been in my car CD player ever since, and I normally put records (CD’s are records) there AFTER I have finished a review.  I flat-out LOVE the Underground Township, and Graham — dreads and all — is just about larger than life.  But then I know a little something about living with more than one spirit inside … Yeah, there’s enough reggae in this big blond white guy to attract the likes of P. J. Herrington, whom I know through Kris Brown and Mr. Brown, to play guitars.  Other official band members (the “senior class” on the record yearbook) include Matt Morris on drums, Wayne Dalchau on bass, Chris Stringer on keys, and Patrick Herzfeld on drums — but there are often horns, and here and there buddies of Graham (like Alejandro and Hayes Carll) who show up to sing or maybe rap on the furniture in time.  The M&M Horns (Margaret Whitt and Meg Kemp, also known for their work in Jabarvy), Nick Warrenchuk (trombone), Mark Wilson (saxes), and Leila Hanley (alto sax and flute) are on this collection of songs.  For the whole schoolfull, get the record!

Because this column is all about SONGS!  “Let It Go” encourages us to “laugh until life makes sense” when things around us threaten to swallow us whole (such as the death of a daughter or a brother).  “Boys and Girls” yearns for a simpler time, “before the false truths were written in stone.”  After all, what we face in real life today is “criminals as politicians,” and “all this pain in so many lives….”  But this record is all about the “Ragamuffin,” Graham’s brother Aaron, and on this powerful song Lloyd Maines lends his considerable skill on pedal steel.  Indeed, the whole record was inspired (Graham tells us) by a band trip to New York City to play a gig with some of his brother’s friends that turned into a month-long tour in the summer of ‘08.

On the other hand, the record is also about Graham’s big loving heart – songs like “Star Blue – Spend All My Time with You” and “Our 1st Night,” tender love songs (okay, I just see some Red Skelton soft shoe on Star Blue).  Another one of my favorites is “Ghost,” one of many songs here where Graham talks about the discord in today’s world and wonders, “why don’t we love one another?”  The big guy with the big heart sings this great song, “Blame,” when you want to blame the mess on just about everybody else, but if you want to let love win the day you just let them blame it on you and get over it.  My decade in Baton Rouge (and eternity in Houston) makes me smile at “From Covington,” even though “sister Melody has got some felonies, thirteen class A, in all,” when the one I know best got busted mostly for walking to the Randall’s after curfew to get a soda.

“Blank Pages” is just Graham and a piano in that sepia-sounding effect singing, “scraping with worn fingertips and broken nails, I scream, ‘the living stay hungry, the dead they are not alone…..”  And so, after you listen to the 15-song set all the way through, you find yourself back at track 1, a rockin’ number, “Watertowers & Windmills,” a song about coming to grips with things you cannot understand when the world seems about to fall totally apart (the water tower is two days shy of running dry, and the old windmill has stiopped singing it’s song….”  And “Sunrise,” a toe-tapping, horn-happy ditty that must have been written on the bus on the way back from New York that ends with the sounds of real live Boys and Girls (and of course the intro to that reggae song).

I have to close out these comments by mentioning, “Personality Disorder,” a tap-dance number reminiscent of Richard Gere in Chicago — tap-dancing through the muck and mire of a world “so unbelievably full of idiotic super-natural-light-hearted wild turkey babble ….”  And I am brought back to Halloween, with Bobby Perkins playing bass wearing a grass skirt and me in my Zoot suit …

And that brings me back to why Ben and I were at Momo’s this Monday — but before that I gotta tell you Ben was the victim last Friday night of a flying skillet he had to catch with his bare left hand and all of a sudden unable to play his scheduled gig at Flipnotics.  So naturally, BettySoo and Mailman Dave came to the rescue, showing up on half an hour’s notice for unsuspecting folks like me who had been at Momo’s for an early set or two.  Oh, Ben did drop by, ostensibly to sing a duet (on a Tom Waits song) with Noelle Hampton and her band — and the guy, for some strange reason, grabbed Noelle’s guitar and painfully but poignantly gave his friends the treat of his version of “White Christmas” before yielding the floor to Will Sexton and Charlie Faye and later Jess Klein (all of whom Noelle graciously lent her stage to during the evening).

The very next night I was back at Flipnotics to catch a set from Margo Valiante after stopping by House Wine to hear some new songs from John and Kristen Nixin.  Wise birds got to Momo’s early on Monday to hear Jess Klein and Randy Weeks swap songs for an hour, whetting the appetite for the main event, one that I have a sense might one day be seen as historic.  Dustin Welch has done the string quartet show before — with violinist Trisha Keefer, bassist Joe Beckham, and cellist Brian Standefer, notably at a show I caught at Lambert’s what seems to be a lifetime ago.  This time though Dustin brought out James Duvall and Eli to record the second of two shows also featuring Phoebe Hunt and sister Savannah Welch — with dad Kevin (plus grandparents and little sister) shooting video and the rest of the family basking in the glow. 

And speaking of family week, last Wednesday I got to see Eleanor Whitmore and hubby Chris Masterson at the Scoot Inn and Vanessa and Jason Lively and full band on Vanessa Lively Day at Momo’s.  Just good stuff.  On the horizon — Christmas Night at Antone’s with Blues Mafia, Shelley King, and Carolyn Wonderland, and next Sunday at Threadgill’s North Lamar for Hank and Shadri Alrich (lunch) and then out to the iguana Grill to catch the beautiful Barbara Nesbitt.  Finally, KUDOS to Jazz Mills for collecting (and organizing into gift baskets) tons of stuff for Christmas presents for Austin’s homeless and hopeless.

I remember the first time I met Grace Pettis — at Journey Imperfect Faith Community for a Wendy Colonna music show.  Only much later did I learn she is the daughter of songwriter Pierce Pettis, but even on that first encounter I knew this was a woman of considerable substance.  Sitting out at Cafe Mundi this past Thursday night, my bud Nathan Hubble added his “amen” — as Grace was singing “What You Didn’t Want to Know,” a song from her debut CD, “Grace Pettis,” which Grace will be showcasing at Journey IFC’s warehouse meeting place in North Austin on November 21st.

But before I review the CD, let me tell you how I GOT to Cafe Mundi for Naked Folk, a songwriter showcase hosted by Chase Gassaway and Lamar Stockton (who leads the Resonate worship band at River Bend Church).  And before I do that, I need to note that Lamar and Nathan go way back to grade school, and that all of these guys sing harmony vocals on Grace’s new record.  I also need to note that the third guest on this night was the lovely (above, right) Jordan Whitmire, whose songs were so good I thought they were by Carole King or maybe fellow Dallas girl Norah Jones. 

Okay, so it is Tuesday night, and my old pal Brennen Leigh, along with Noel McKay (below, left), are playing a show at House Wine.  Now, Brennen sometimes sits in with Nathan (on electric mandolin), and so it was not that big a surprise that he showed up at the gig.  So did keyboardist Lacy Quin, who is playing a show with Steven Ray Will at the Saxon later this month.  Nathan told me about this gig, and as soon as he mentioned Grace Pettis, I was down for it (having missed a couple of her recent shows).  Later that evening I stopped by the Blind Pig to see JusTif (Justin and Tiffani, below, bottom center), who had been at my house party two days earlier (and the multi-talented Scott Andrews showed up with his mandolin for a 10-minute version of “A Horse with No Name” and much more).  I even went next door to Maggie Mae’s to feast my eyes upon the saxy glam boy Greg Williams (along with Dave Madden and Glen Rexach, among others) at Live Band Karaoke (bottom, left) — a real hoot for everyone who braves the stage.  Then I met back up with Matt and Lacy at the Hole in the Wall as Brennen and Noel played twin lead guitars with Missy Beth Crisman (below, center) and her Alaskan country twang. 

Then on Wednesday, I devoted myself to my new friend Barbara Nesbitt (below, right), as she played two sets at House Wine and later let me listen to rough cuts from her forthcoming album that features Doug Pettibone and members of her old band from San Diego.  Barbara has upcoming gigs in Austin at Flipnotics (Nov. 21) and the Iguana Grill (Nov. 22) that will be well worth going to.  And after Naked Folk on Thursday, I trekked over to Ruta Maya and caught a couple of songs from Irie Jane, a full set by my friend Beth Richard (with her husband Jason on guitar and Steve Bernal on cello and Gray Parsons on vibes and keyboard), another full set from Cayce Rose and the Mind Games (I have known Cayce (bottom right, with Beth Richard) since she was 13 and now she is married to Mario Matteoli, who plays guitar in her band), and most of a set from Gabriel Siklosi and her band Beautiful Minds) before hitting yet another highlight — THE WORLD PREMIERE OF THE NEW LONESOME HEROES MUSIC VIDEO (which features horses and a marisachi band and much more — but will otherwise not be widely available until after the video’s New York City premiere on December 2nd).  Folks, this video, shot by Rich Russell’s boyhood friend, Brookyln-based filmmaker Danny Stolzman of Frameless Films.  [Technically, the actual Austin premiere was earlier in the evening at Jo's Coffees but I got to the afterparty for a special showing).

GRACE PETTIS -- Self Titled

Words cannot express the heritage that Grace Pettis brings to her debut recording -- you just have to be quiet and listen to hear this very modern yet very traditionally spiritual woman who challenges anyone with claims of faith to stand up and face the music.  The self-righteous have to squirm or else be converted to the unconditional love that pours out of Grace's whole being.  Let's start with "Love Is There," about to be covered by Sara Hickman.  Grace lets us know that LOVE is there in the prison cell, in the soldier's private hell, even with the father who left us and with the battered wife, the homeless in the rain, and (believe it!) even with the stillborn and his mother.  As Grace sings, ""In the broken places, in the empty spaces, love is there somehow." 

Billy Crockett as a younger man toured with Dallas Holm, Rich Mullins, and Sandy Patty (some of the most powerful contemporary Christian artists before Nashville made that genre soupy), then he and his wife moved to the Texas Hill Country to build the Blue Rock Artist Ranch and Studio (and record a new record of his own as well).  Players on this beautiful disc include Colin Brooks (well, everything and vocals too), Rick Richards on drums, Chris Maresh on bass, Dirje Smith on cello, and Dave Madden on piano and vocals -- and a host of backing singers to create the choirs on "Love Is There" and the little gospel ditty, "Let a Little Light."

But this is not exactly a gospel record.  The opening cut, "The Gypsy's Code," opens our eyes to a woman who told me that right after she graduates college and gets married she plans to hit the road and tour until the cows come home:  "I am a wanderer, crossing borders, My home today will be tomorrow just another place I've been."  In "Nine to Five Girl," the hard-working waitress vents her anger at the higher paid office worker who leaves a measly dollar tip (but is this not a larger vent against anyone with wealth who disdains the poor, the servants who make the lives of the richer among us much more comfortable?). 

I was struck by Grace's live performance of "What You Didn't Want to Know," as she sings, "I'm the weatherman, I can't command the falling snow, I'm the one who tells you what you didn't want to know."  And then there's the playful "Italy" (not the town south of Dallas where Bobby Perkins grew up), a vision of a coming honeymoon where she and her man will "walk our feet on holy ground" and of course check out Michelangelo and Da Vinci and drink chianti and (of course) sing for the Italians.

Grace can also be tough: "Heard Enough Now" is a flat out rebuke of a smooth talker whose "silver tongue might wish me well, but you're good for nothing else," someone whose "money is far from your mouth" who says some "pretty things" and who has "some cause that you want me for," but Grace will not "fight your holy war."  [Uh, maybe the hypocritical church?]  And yet she can leave all of her frustrations behind and visualize a soldier and his girl “Dancing” (co-written with Sofia Echegaray) — “Threw your head back and laughed, and the ribbon flew from your hair … and we were dancing, dancing, around and around.”

Twelve cuts in all, including “Speak Tenderly” and “A Bird May Love,” and “Turning Now,” which speaks of “bicycle ribbons on the handles, you flew me over sidewalk mountains, childhood wilderness; you taught me moving grace, though it took a few scrapes; Now I ride my life like my old bike, it’s a balancing act.”  A song about growing up and dealing with what life brings — and letting go of childhood for the adventures that adulthood brings. 

The record closes with an honest lullaby, “Long Sleep,” with Grace admitting (as even Mother Teresa did many times) that “God is a long lost friend and lover, I believe once we were happy together, but faith is a fading dream, a song I sometimes sing just to remember.”  And yet this song is truly a prayer that we all awaken from our “long sleep” to breathe again as the dawn breaks over us.

Time flies when you are having fun.  Sometimes you just have to play catch up — and in this case, Flanfire had to back off on this column to write a speech that justified his recent pilgrimage to the shanties outside Cancun with a bunch of eager beaver college kids.  So here we have some of the OTHER stuff from the August month of 100-degree pure joy.  Sometimes we even just put down the camera and enjoyed the day — usually that happens on Monday nights at House Wine, thanks to Abbi Sims and the wonderful Kerry White (and her main man Nick).  Just yesterday we got to hang out with old pal Chris Jamison, my new great friend Ruby James, and a BUNCH of newcomers to the House Wine stage — including one Barbara Nesbitt, transplanted Georgia peach who had just escaped San Diego four days earlier.  Gal has the spunk, the spark, and the smile — and yes she paid her dues in Virginia Beach with a Grateful Dead cover band before embarking on a career as a singer-songwriter.  But that was not all — just two nights earlier I had been hanging with Natalie Zoe as her daughter’s band blew away Gary Clark Jr.’s crowd at Antone’s (see below) and I looked around and saw not only my good friend Nano Whitman (who played a solo set at Botticellis on Monday) but also an even older acquaintance — guitar genius Brad Tretola, whom I had not seen in five years.  He promised me he was back in Austin for good (or at least a good while) this time.  Next I know (maybe I said something), Ruby is over at Nuno’s on Monday recruiting Brad to come and play a few songs at House Wine – and nobody who had stuck around till nearly midnight was disappointed.  Brad’s return to Austin is great news for music lovers — and good friends.

And speaking of those returning to town, here is Jackie Bristow fresh from six weeks in Australia working on her new record at the Red Shed Tavern (how about that stage built by Chad Pope?) with my favorite Austin guitarist, Van Wilks.  I think these two ought to play LOTS of shows together — Van was as energetic as I have seen him on acoustic guitar making beautiful notes happen, and my good pal Mark Addison was caught playing DRUMS on one of the songs they did together.

In the middle is that same David Ramirez whose new record I just reviewed — shown here playing at Momo’s Club just before embarking on a lengthy tour with Boerne native Matt McCloskey (last I heard the boys were chowing down at Katz’s Deli in Noo Yawk City).  And truth be told, no collection of photos of Austin music would be complete without Scrappy Jud Newcomb, shown here on the Momo’s stage backing Jess Klein just before the two left on a West Coast tour.  Jess will be back at Flipnotics on September 3rd before heading east this time — to New England where the rain has been falling every day this summer, I am told by old friends) and the Carolinas. 

There is NOBODY better as a lead singer on any stage in Austin than Drew Smith — and I mean NOBODY.  Last week Drew was set to play a trio with drummer Kyle (the Smile) Thompson and Ryan (Beef Beeferson) Bowman, but at the last minute Guitar Hero Jake Owens (who admits to being influenced by fellow San Antonian Joe Reyes) showed up, and it was the Lonely Choir in toto sans keyboardist Matt Russell — and thus a brand-new sound, edgier in some ways.  And Drew?  He was just out there sweating and shouting and bringing goosebumps to just about everybody at Momo’s Club — especially that lovely woman in the second tier of tables who inspires many of his songs.

My very next trip to Momo’s was just as good — what with Ian Stewart and the Fireants down to just three members for the night (Victor Ziolkowski and Rebecca Pledger) but with musical magician Erik Hokkanen swapping licks with Ian, nobody seemed to mind.  Just WOW!  Erik has also been spotted at Momo’s lately sitting in with Utah emigres Wisebird (a band NOT to be missed while the price of admission is still affordable).  Earlier that same evening I had stopped by Flipnotics for a RARE appearance by sultry songbird Tawnya Lorae (again, a packed house cheering her every breath).  And to my joy and surprise there was Ram Zimmerman tapping out the rhythm to her blues … but no wonder!  I had not seen Ram since the Kim Deschamps Band days of olde. 

Here we have Austin newcomer (and Berklee grad who hails from California) Michelle Alany playing fiddle with The Inheritance (featuring Amanda Kitchens on accordian) at a packed-out Flipnotics (this band is HOT and will be back there and elsewhere soon).  Next up is Sasha Ortiz in total ecstasy at a Blues Mafia show at Antone’s (opening for Gary Clark, Jr., who along with Eric Zapata and a killer rhythm section blew the walls off the storied blues venue on Saturday night.  Blues Mafia was just as impressive in a shorter set — and they will be back at Antone’s on August 27th with the Bubbles as openers at The Daze CD release party.  The rowdy Mandy Rowden, she of Girl Guitar, is shown HERE with her all girl (what else?) band, Cover Girl (playing, what else, covers!) during a nine-band, six hour showcase at Antone’s sponsored by Austin Music Marketing.  I got in early to catch a short set from my old pal James Bullard and returned later for a kicking set from The Skeletons — punkabilly at its very best!  I have long been fond of Jeremiah and Amanda Ingram (that gal can pound the skins!), and bassist Vincent Salcedo is just pure slap-happy — but the band has taken on new life with lead guitarist Dan Nettles and mandolinist Nick Wicker.  I wanted these guys to play another hour or two.