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Jack Grace Band
6 schedule::attendeesLocation Saxon Pub
Artists Jack Grace Band
event::about With a new CD titled Drinking Songs for Lovers, one might be forgiven for believing that Jack Grace should ease up a little. A singer, songwriter and guitarist who has made a career out of following no one’s rules but his own is probably going to keep doing his thing until his liver lays down the law. He’s earned praise from press and peers, and even a couple of legends. Opening for Jerry Lee Lewis afforded him a quotable anecdote after Lewis, listening to the band’s set backstage at BB Kings in NYC, quipped, “he sounds like that Cash kid, only good.” After Lewis’ set, Jack shook his hand and told him it had been an honor to share the stage with him. Lewis leaned in and said, "I really enjoyed your set." The Merle story is also a favorite chestnut. Jack flew out to California to the Mountain Winery to open for the country legend. After his set, Jack asked Mr. Haggard if he would autograph his well-traveled 1947 Gibson LG2. At first Merle objected, saying he couldn’t imagine that Jack would really want anyone to write on it. After Jack insisted that he was more than happy to have him do so, Merle smiled and lifted the guitar and examined it. "Hmmm,” he said. “Feels like there's a few more songs in this one.” Jack actually came to the music thing a bit late. An aspiring actor, he didn’t even pick up a guitar until he was 18, and even then wasn’t very diligent about it. When it was time for his lesson, he often took off into the woods, leaving his teacher hanging. He eventually buckled down and learned it himself, his way, and for his own purposes. This was an early indicator of an outlaw characteristic that has been one of the hallmarks of Jack’s musical journey: his knack for breaking the rules. How else to explain an impromptu launch into Led Zeppelin during one the bridge of a folksy acoustic number or adding a little “Rapper’s Delight” in the middle of another? The answer lies with influences, as it often does with artists who don’t allow themselves to be pigeonholed. Some of his fondest childhood memories are of dozing in the back seat listening to Sinatra on his father’s car stereo. His earliest musical discovery involved a handful of Beatles albums among his parent’s record collection. An avid collector of Beatles memorabilia to this day, he still plays vinyl 45s of “Help” and “We Can Work It Out” after he’s had a whiskey or two. His teenage obsession with the Beatles got so intense that the mother of a buddy of his became worried about their friendship, saying, “A relationship shouldn’t be based on a rock band.” Poor Neil Young was the next victim. Buying all of his albums wasn’t enough for Jack; he had to chase the man down after a show once. Probably looking like a wild man in a poncho, ripped jeans and moccasins, he threw open the door of Mr. Young’s tour bus, where the alarmed singer (who was holding a baby at the time), recoiled from the crazed fan who breathlessly told him, “Oh, I just wanted to shake your hand!” It’s artists like Young, who have refused to be boxed in by any label, format or any other restrictions, that are the ones who’ve inspired Jack to move in any direction he’s wanted. He formed his first band in 1993 in Boulder, CO. Steak, an experimental, Zappa-flavored 4-piece, had an avid following in the West until the group officially disbanded in ’99. Frustrated by the restrictions of even an experimental outfit, Jack decided to go solo, working with a revolving group of musicians even to this day. Functioning more like a jazz bandleader, he has a main cast of characters but keeps two to three drummers on call at all times, all of who can be heard on his latest recording. Upon releasing his first solo recording, Introducing the Songs of Jack Grace, many noted the songs had a decidedly country feel. “Fine, call it country if you want,” he said at the time. “What you label it doesn’t mean all that much to me.” What it really meant was that there were new rules to be broken. Country? Fine. Let’s do a concept album called the Martini Cowboy, and throw in a bossa nova number with lap steel front and center. It worked. Alan Young of the New York Press raved, "Big Johnny Cash-style baritone singer with guitar, backed by a tremendously versatile, honest-to-goodness country band. Grace’s writing draws from such diverse influences as Merle Haggard, Tom Waits, the aforementioned Mr. Cash and Willie Nelson, but what sets his songs apart from rest of the country or alt-country scene is his laugh-out-loud, absurdist wit. Not only is this a great party album and a great driving album, but it’s also very smart and very funny. Humor is a function of intellect anyway." Kevin Canfield, writing for the New York Times, exclaimed, "Make no mistake: Jack Grace is an old-fashioned country musician." Except that he isn’t. His band rocks too hard to be country. It always has. And the band members come from all walks of life: jazz, pop, rock, blues -- you name it. Along for the ride on this musical journey are some of NYC’s finest. Bassist, vocalist and wife Daria has lent her considerable talents to the chamber pop group Melomane and her own quintet, the Pre-War ponies. Toronto-born Russ Meissner has played drums with Jack since the early days. Having one drummer on the case isn't enough for the man who divides his time between Brooklyn and Bearsville, so Jack also enlists the help of one Jason "J-Bird" Bowman. Bruce Martin from the Tom Tom Club also helps keep time a lot of the time. Mike Neer took over first chair after the untimely death of founder Drew Glackin, and fills the spot admirably with some tasty licks from his lap steel. Bill Malchow plays organ, piano and accordion, cracks jokes and sings a bit too. A practitioner of the New Orleans/Dr. John sector of the musical universe, when Malchow joined the band, he told Jack he was learning some country moves. “Don’t!” Jack exclaimed. “I hired you to be the piano player you are. We aren’t here to recreate the past.” Whenever someone tries to classify what Jack is doing, he pulls a jailbreak from the genre, and that is what makes his music modern rock. Even when he was promoting The Martini Cowboy, people wondered, is he more martini or cowboy? Now we have our answer. Unfortunately, Drinking Songs for Lovers is largely autobiographical. Jack didn’t intend for it to happen this way. He compiled his best-loved new tunes as he readied himself for the studio, and realized, not quite to his surprise, that nearly all of them seemed to revolve around a common theme: alcohol. Right from the start, “Morning Margaritas” hits you right, replete with mariachi horns and rollicking piano. The tune was inspired by a waiter bringing Jack and Daria just such a treat on the beach in Tulum, Mexico. The Grace’s yearly pilgrimage there may explain why South of the Border influences abound, particularly on “Margaritas” and “It Was A Really Bad Year” as well as the flagrant use of the aforementioned horns throughout the record. The many mood shifts on Drinking Songs for Lovers reflect different stages of intoxication, from playful (“If You’re Gonna Raise a Drunk”), to regret (“I Drank Too Much Again”), disapproval (“You Drank Yourself into a Corner”) to elegiac (“I Can’t Believe You’re Gone”). “Drinkin’ and Gamblin’” is a match made in heaven, and “Drink a Little Hooch” only sanctifies that marriage so much more. Jack even tackles the open road in “The Worst Truck Driver”. Every tune on the album has its own story. “True Tonight” came to Jack in a dream. He woke up the next morning with the song fresh in his mind and grabbed his notebook, an acoustic guitar and a tape recorder. He is steadfast in his belief that this is the best method for songwriting. A lament from a Woodstock old-timer about the town’s lack of a real gin mill was the genesis of “Drinkin’ and Gamblin,’” composed down by the creek behind the Grace’s Bearsville home. Friend Meredith Ochs, who co-hosts the “Road Dog Trucking” show on Sirius Radio, was stunned that Jack…
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Foster & Lloyd
14 schedule::attendeesLocation Saxon Pub
Artists Foster & Lloyd
event::about FOSTER & LLOYD IT'S ALREADY TOMORROW Looking back at the history of music, you can pinpoint those times when change takes place...something new replaces the old. Music that once sounded 'like this' suddenly sounds 'like that.' In the 1930's, country music was considered to be the sound of hillbilly string bands. When the music was electrified, a honky-tonk shuffle played with a drummer became the new sound. It was still country. In the mid-to late 1980s, there was another sea change-a short period of undeniable diversity coming out of Nashville that broke through on country radio. Steve Earle famously referred to it as 'the great credibility scare,' a time of creative freedom that's rarely been seen since. In the thick of that wide-open feeling, the duo of Foster & Lloyd came together and-along with Earle, Dwight Yoakam, Lyle Lovett, Rodney Crowell and others-was a part of the movement that changed the sound of country music and pioneered the Americana movement. In 1985, Radney Foster and Bill Lloyd were two young singer-songwriters signed to the same song publisher. They came from different backgrounds but had enough in common to create an almost immediate response to the songs they co- wrote and recorded. Their first success came as songwriters (early songs were recorded by Sweethearts of the Rodeo and Ricky Van Shelton), but it was the distinctive sound of their publishing demos that gained them their record deal with RCA Records. The duo mixed straight up Buckaroo country with jangly-Byrds sounds, looking and sounding a little louder than most of the other country acts of the era. Their first single, the rockabillyish-honky-tonkin', 'Crazy Over You,' shot to the top of the charts, making them the first duo in Country music history to score a No. 1 on their debut single. Foster & Lloyd also became one of the first acts to be played simultaneously on Country and College radio, sharing common musical ground and press accolades with Rank and File, Lone Justice and the Blasters. The combination of their harmony vocals (recalling everyone from The Everly Brothers to Rockpile) with their self-produced guitar-centric sound and solid, clever song craft won over critics and fans alike. In the end, they recorded three groundbreaking albums for RCA (containing hits 'Sure Thing,' 'What Do You Want From Me This Time,' 'Texas in 1880' and 'Fair Shake,' as well as 'Crazy Over You'), toured internationally, garnered a Grammy nomination and were a constant presence at the CMA awards. The duo split in 1990, with both members going on to successful solo careers. Though they remained friends and wrote together sporadically over the years, it took a request from the Americana Music Association to reunite for a fundraiser to get the duo together again onstage. News that Foster & Lloyd were performing for the first time in 20 years spread like wildfire, and the show sold out in 15 minutes. The band that night included Cheap Trick bassist Tom Petersson and drummer Keith Brogdon, with a guest appearance by bluegrass virtuoso and longtime friend, Sam Bush, on mandolin. 'It was so much fun getting back together onstage, and we realized that the new songs we had written together still had that magic,' says Foster. 'We decided to start getting together once a month to write. Soon the songs were pouring out, and we knew we needed to get back in the studio.' Again, like it was in the beginning, they went in to the recording process to please themselves firstlet the chips fall where they may. The result is the new album: It's Already Tomorrow. Fans of their older records will no doubt hear the familiar blend that only happens when Radney and Bill work together. One might think that after a twenty-year break, the vocal harmonies might creak a little but the duo sounds surprisingly strong from the opening notes. Foster's voice is strong, deep and resonant throughout the album and you can hear the years of experience in his tone and timbre. Lloyd is still hitting all the high harmonies with style. Their blend is cohesive and is arguably tighter than it used to be. As before, it's the guitars that hold center spotlight when it comes to the instrumental aspect of the Foster & Lloyd sound. Lloyd delivers his usual guitar hooks sounding reckless enough to be exciting but melodic enough to be memorable. There are plenty of crunchy guitars to go with the twangy and succinct solos' that you can hum later. Foster also adds both electric and rhythm acoustic parts to the mix. The listener will also hear a deeper kind of songwriting that comes with age and time. Radney and Bill both recognize the creative spark between them and talk about it without reserve. 'When Radney and I get together, it's hard to tell where one thing ends and one thing begins,' says Lloyd. 'You may think the more country sounding stuff would be him, but sometimes it's me. You'd think a certain guitar lick would be mine, but sometimes it's his. There's also a 'third thing' that happens when we work together that's different from each of our solo writing and recordings.' 'Years back, we would be able to get inside each other's heads pretty easily when we wrote-I think it kind of amazed both of us this time around how quickly we were able to get that back again.' From the ringing opening notes of 'It's Already Tomorrow,' the rockin' twin telecasters of 'That's What She Said,' to the plaintive harmonies of the final acoustic track 'When I Finally Let You Go,' the collection is vintage Foster & Lloyd. The duo co-wrote all twelve songs and co-produced the set, which was recorded and mixed by Justin Tocket (known for his work with Marc Broussard, the Randy Rogers band and others) with the same core band of Foster, Lloyd, Petersson and Brodgon. Petersson even joined the duo in co-writing one of the songs. 'Bill was out in Las Vegas, playing with Cheap Trick on their Sgt. Pepper's orchestra production,' explains Foster. 'I went out to write with Bill and see the show. We got together with Tom afterwards, and came up with 'Lucky Number.' The duo also dug up an old song, 'Picasso's Mandolin,' which they had written years before with Guy Clark, who recorded it on his Boats To Build album. 'We felt like we wanted to put our spin on the song,' says Foster. 'Bill found his original notes from that day, and we ended up writing another verse.' They called again on Sam Bush, who completed the track with an inspired mandolin solo. Other guests include legendary pedal steel guitarist Lloyd Green, who is featured on 'You Can't Make Love Make Sense' and the Beatle-esque ballad 'If It Hadn't Been For You.' Noted producer and former Emmylou Harris steel guitarist Steve Fishell also played blistering lap steel on 'Don't Throw It Away,' and singer/songwriter Beth Nielsen Chapman came by to lend her beautiful voice to 'Lucky Number.' After the core combo tracked the album, Radney and Bill recorded one last song, the acoustic-based "When I Finally Let You Go," in Radney's home studio. Bruce Springsteen's E. St. Band bassist, Garry Tallent, was in town visiting and added a nylon string bass part to the recording. Through all the inventive lyrical twists and turns and crackerjack guitar licks, what comes through loudest is a sense of fun, adventure...and freedom. 'Back then, we were concerned with trying to keep ourselves within a radio format,' says Lloyd. 'We would try and be different enough to stand out but we didn't want to color too far outsides the lines (although some would say we colored right off the page from the git-go). We didn't have any constraints this time. The sound of this new album is unfettered by formats...either real or imagined.' Country. Rock n' Roll. Power-pop. Folk. Americana. Whatever you want to call it, Radney and Bill combined make Foster & Lloyd music. It's Already Tomorrow. Hear it today!
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16 schedule::attendeesLocation Saxon Pub
Artists Guy Forsyth
event::about It’s been a long and dusty, winding road for Austin singer/songwriter Guy Forsyth that’s led to a recent surge in praise over his dazzling live shows and his rich Americana roots sound. Forsyth (vocals, acoustic, electric & slide guitar, harmonica, ukulele, singing saw), along with Will Landin (bass/tuba) and Jeff Botta (drums), bring a unique mixture of styles such as folk, rock, country, and Tin Pan Alley to create a sound that’s as heterogeneous, raw and compelling as America itself. You’ll hear powerhouse vocals deliver energetic yarns about love, the government and the apocalypse, to name a few, as Forsyth and company squeeze everything they have into each song and rarely come up for air.
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HalleyAnna and The Tennessee Volunteers
5 schedule::attendeesLocation Saxon Pub
event::about HalleyAnna is a 24 year old singer-songwriter from Austin, Texas. Her full-length debut, Love is War, will be released in March 2011. HalleyAnna worked with Corby Shaub (Ryan Bingham) to approach this album with honesty and emotion that is as refreshing as it is unique. HalleyAnna began playing music as a child along side her brother and sister, looking up to female performers such as Emmylou Harris and June Carter. She began playing bars and coffeeshops around Austin at the ripe age of 12 and soon after started opening up for acts such as Todd Snider, Slaid Cleaves, and Hayes Carll to get a feel for playing honky-tonks and dancehalls as a songwriter, developing character and collecting a few stories to tell along the way. HalleyAnna's band, The Tennessee Volunteers, includes brother Sterling Finlay on bass, Bryan Mammel on piano, Regan Schmidt on lap steel, and Dees Stribling on the drums. The original members of the honky-tonk band have been together since 2009 with additional members coming and going along the way. If you catch HalleyAnna live during the 2011 SXSW conference, make sure you pick up the free single off her first full-length album.
to 12:30 AM
4 schedule::attendeesLocation Saxon Pub
Artists The Resentments
event::about The Resentments are a collective of songwriters, sidemen, renegades and bon vivants that have held down Sunday nights at the Saxon Pub in Austin, Texas for many years, in many forms. Mostly acoustic, they trade songs and instruments, solos and bon mots, but John Chipman, Bruce Hughes, Scrappy Jud Newcomb, Jeff Plankenhorn and Miles Zuniga all share the same goal: elevation and liberation of the spirit through music. The Resentments were started 13 years ago by the late Stephen Bruton and the very much alive Jon Dee Graham. Neither plays in the current line up, but their presence is always felt.
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Hector Ward & the Big Time
5 schedule::attendeesLocation Saxon Pub
Artists Hector Ward & the Big Time
event::about Some people just have a star quality about them, as if they were born ready for the big time. Hector Ward is one of those people. The leader of the Austin-based Latin Funk and Country Soul Band, Hector Ward and the Big Time, explains “My grandparents nicknamed me Hollywood Hector when I was just three years old.” Hector was born to Cuban refugee parents who fled Castro’s communist regime. Spanish was the language, and Cuban was the music, that filled the family home. Although he only spoke Spanish on his first day of kindergarten, he grew up 100% Texan, riding dirt bikes at the family ranch and playing sports (football and baseball) in school in Damon. Around age 13 he picked up the guitar and started to play. Like most young lads with an axe his early influences included Led Zepplin and Jimi Hendrix. He spent hours pouring over Catfish Blues and Over the Hills and Far Away. His love for these classics endures and a Zepplin cover often makes the Hector Ward and the Big Time set list today. In addition to his success on both the grid iron and diamond in the highly competitive world of Texas high school sports, Hector continued to perform and generally live up to his “Hollywood” legend throughout high school. He performed in plays and musicals including Annie Get your Gun. When it was time to go to college on a football scholarship he followed the time tested method of getting-as-far-away-from-home-as-possible and settled on Midwestern State in Witchita Falls. He played linebacker & defensive end & tight end in the fall, and bounced around the baseball field with as a hitter who could deliver, and play the field as well. After a year in far flung Witchita Falls he was back home, sorting out his life and examining prospects for the future. On one average-as-any night back home a tired Hector was urged by some friends to head in to Houston to party. Hector wasn’t really up for it, but went anyway. On the way home he fell asleep at the wheel and crashed his truck. He flew out the back window and broke his neck. The initial prognosis was that he would be paralyzed from the neck down. Fortunately, for music lovers everywhere, his arms were in good working order and he passed long, pain-filled hours playing his guitar in the hospital. When he left Midwestern State he knew he wanted to move to Austin and start a band, and the accident did nothing but strengthen his resolve to do so. Wheelchair bound, with lots of friends and family in Austin for support, Hector put several bands together over the course of a few short years. First “Thirsty” then the “Clay Pigeons,” both loosely described as Acoustic Folk, Americana. Both gained local notoriety, and after the Clay Pigeons name was ripped off in 2005, Hector put the band back together under the name “Sigmund Fraud.” Again, local notoriety followed as the Hector and guitarist Adam Jumper soldiered on, exploring the (then popular) jam band genre and dabbling in reggae and hip hop sounds. The band’s only album “Pink Blackmail” won them a following and local radio airplay but Hector was having problems keeping a drummer in the lineup and personnel issues ultimately let to the demise of “the Fraud.” Whatever Hector is working on, he’s always looking ahead to the next big thing. His 15 years of experience building bands in the “Live Music Capital of the World” and a lifetime of musical passion are now focused in a single direction: Hector Ward and the Big Time. The current 9-piece band has been together for 3 years and has enjoyed every minute together playing in gigs around Austin. When asked about what he wants to accomplish with his current project Hector breaks it down like this, ”We’re just all about having a good time, I mean, at the end of the day, that’s what it’s all about, come on out, enjoy some tunes and have fun.” Hector Ward and the Big Time are: Hector Ward – Vocals, Guitars and Banduria Mike McGurk - Drums, Vibes and various percussive instruments. Mike hails from Salt Lake City, Utah. His classical musical training brings true rhythmic thunder to the Big Time. Mike has been professionally touring and playing music for over 25 years. He now calls Austin, Texas home. Scott Beardsley – Bass Guitars. Scott has been playing bass for over 25 years. Originally from Pittsburgh, PA., he won his first “Battle of the Bands” at 18, and has been gigging and recording professionally ever since. Scott brings a solid rhythm foundation to the band. Cari Hutson– Vocals Cari Hutson is the White Aretha Franklin. She is a high energy vocalist that commands the stage with a presence un-matched. She is also fronts Cari Hutson & Good Co., so check it out! Phil Roach – Guitars Phil is an artist in every since of the word. He is a gifted musician who has been playing drums and guitar for over 15 years. His guitar playing is reminiscent of many great rock and blues musicians. His beefy guitar tones add resilience to the Big Time. Phil is an Austin, Texas native. David Farris – Congas and various percussive instruments. Dave has been playing music professionally for over 15 years. He brings great rhythmic grooves that add to the full sound of the band. He is the owner and operator of the Underground Opera House recording studio in Austin, Texas. Tiger Anaya - Trumpet Tiger dusted off that old high school horn in 2004 with the goal of playing in Austin's best horn section. Influenced by the big sounds of Tejano bands such as Little Joe y La Familia and the smooth flow of Trumpeter Herb Alpert, Tiger truly believes horns make a band sound better! Mitch Montez – Saxophones Mitch is truly a gifted musician who has been playing the saxophone for most of his 21 years. His Jazz and Blues roots bring a true thick sound to the band. Mitch is truly a Jazz prodigy. Matt Price –Trombone Matt is a true Austin, Texas native. He brings great song writing ability influenced by funk and jazz greats such as Coltrane and Davis, Mingus and more. He IS the big bone in the Big Time!
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Earl Poole Ball and the Cosmic Americans
7 schedule::attendeesLocation Saxon Pub
event::about EARL POOLE BALL-Singer and pianist (Johnny Cash-Gram Parsons) has formed a rockin/blusey/rockabilly/original music band THE COSMIC AMERICANS. Members are: GLEN FUKUNAGA--BASS (Joe Ealey-Lloyd Maines-Dixie Chicks) JODI ADAIR--VOCALS (exciting new vocalist-songwriter-performer) CASPER RAWLS-=GUITAR (James Burton--Leroi Bros.--Buck Owens) DONY WYNN--DRUMS (Robert Plant--Brooks & Dunn) Based in Austin Texas since 2009--musically exciting and theatrically dynamic all at the same time. Come See!!
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8 schedule::attendeesLocation Saxon Pub
Artists Malford Milligan
event::about AUSTIN'S BEST KEPT SECRET ~ MALFORD MILLIGAN Malford Milligan's powerful, raspy voice and riveting stage presence, have drawn comparisons to such soul icons as Otis Redding and Al Green. With his nationally acclaimed band "Storyville," he recorded 3 CDs for Atlantic Records and November Records. He has performed on Austin City Limits twice with "Storyville," and once with Eric Johnson. Malford Milligan has also appeared on the Conan O'Brian show and has toured and appeared with Bonnie Raitt, BB King, James Cotton, Edgar Winter, Double Trouble, Kenny Wayne Shepard and many others. Malford has recorded on more than 30 albums with such artists as, Hal Ketchum, Marcia Ball, Doyle Bramhall, Alejandro Escovedo, Sue Foley, Stephen Bruton, Chris Smither, Eric Johnson, Double Trouble, The Boneshakers, and Toni Price. Now working with his new band featuring legendary Austin rhythm section Yoggie Musgrove and Brannen Temple, along with keyboard wizard Phil Redmond and guitar slinger Jeff Plankenhorn, Malford won't be a secret for very long. "Best Male Vocalist of the Decade" ~Austin Chronicle "Malford Milligan may be the next great soul singer...his tenor resonance and barking delivery invite comparisons with Sam Cooke and Otis Redding, and when he's onstage you can't take your eyes off him!!!' ~Texas Monthly Magazine
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3 schedule::attendeesLocation Saxon Pub
event::about DEADMAN can best be summed up by the mythological story of the Phoenix; a great bird that burns fiercely to ashes from which a new, stronger life emerges. But let's start at the beginning.... At the turn of the century, acclaimed producer Mark Howard (U2, Bob Dylan, Daniel Lanois, Lucinda Williams), signed on to produce the first two of DEADMAN's records, "Paramour" (2001) and "Our Eternal Ghosts" (2004). The Dallas based band, included lead singer, Steven Collins' then wife, on harmony vocals. Steven recalls, 'Mark focused on expanding the sound into a soundscape. Traditional production was replaced by sonic exploration in the realm of the traditional song structure. We never thought about 'singles' or 'radio songs' we just concentrated on making a unique piece of art. On Eternal Ghosts, Mark gravitated toward the softer, hymn-like songs that gave the record its unique identity. We might have missed that without him being there.' The band has garnered critical acclaim and industry attention, including such honors as Billboard's Independent Music World Series Award as well as radio tastemaker support from stations including KCRW: Morning Becomes Eclectic and KEXP in Seattle. The band has also performed at the Austin City Limits Music Festival. Having received outstanding reviews and having toured the UK, the US and Continental Europe in support of the album "Our Eternal Ghosts", Steven Collins returned home to face what would seem to be the destruction of the band and what would ultimately be the end of his marriage to his wife and band-mate. DEADMAN went quiet, in the beginning of it's rise. But much like the Phoenix, Steven Collins, with the support of his current band mates, arose from the ashes of the former DEADMAN and with a blazing fire in his songwriting, he never lost sight of faith, and he slowly rebuilt his vision of the perfect band. Enlisting powerful Austin veterans, Jacob Hildebrand (Miranda Lambert, Tommy Shane Steiner) on electric guitar, Kevin McCol- lough on acoustic guitar and backing vocals (George Devore, Matt Powell), Lonnie Trevino Jr. (Monte Montgomery, Mike Zito) on bass, Kyle Schneider (Roky Erickson, Ian Moore) on drums, and Matthew Mollica (Chris Brecht, Rock Bottom Choir) on Ham- mond B3 Organ, the band's chemistry accompanied by the songs, personal pain, and faith turned DEADMAN into musical steel. The Saxon Pub is considered to be much like a musical church by the six-piece band. All band members agree, the historical venue's strong spiritual nature was a key factor that brought back DEADMAN's lead singer and primary songwriter Steven Collins' faith in the music again. 'When I started to reform DEADMAN, I did so with very little expectations. The guys that were joining had more passion than I did at that time. When we secured a small residency at The Saxon Pub, I didn't think much would come of it. But people started showing up, and they stayed and each week the audience was getting larger and they seemed to really be listening and taking in what we were doing. After a while, I realized that what I was doing was not in vain, but was giving people, including myself, an indefinable hope.' The club was the anchor of the band's rebuilding period. Where souls were healed, stories of faith were shared, and the belief of the music was resurrected. It would make sense that this band would find comfort at The Saxon Pub. The reputation that the venue and its owner, Joe Ables, have for developing and nurturing true talent is preserved in musical history today. These live recordings caught the magic of DEADMAN at a very special moment in their career. It's honest, it's full, it's inspirational, and it just makes you feel like you've been reborn. Look for the Deadman's new studio album in 2011, "Take Up Your Mat And Walk".
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Walt Wilkins & The Mystiqueros
4 schedule::attendeesLocation Saxon Pub
Artists Walt Wilkins & The Mystiqueros
event::about San Antonio-born Walt Wilkins has been called a genius, more than once, and a writer the caliber of John Steinbeck and his voice as comfortable as a pair of old blue jeans, and he is, and has, all of that. With The Mystiqueros, Wilkins has created something of a Texas Hill Country super-group that features four great singers and three great songwriters. Born in Gruene Hall in 2006, Wilkins is joined by Bill Small, Marcus Eldridge, and Ramon Rodriguez, joined by a revolving cast of amazing others, most recently including John Inmon and Kim Deschamps. The music of The Mystiqueros (nicknamed mq5) is highly reminiscent of 70s country rock from Texas and the West Coast and blues and soul that members grew up listening to and features high-quality songwriting and musicianship, rhythm, and vocal arrangements.
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14 schedule::attendeesLocation Saxon Pub
Artists Gurf Morlix
event::about Master instrumentalist, producer and songwriter Gurf Morlix has been a major thread in the fabric of American roots music for over 20 years. But, before he became a recognized name on the scene for his work with such folks as Lucinda, Ray Wylie Hubbard, Slaid Cleaves, Buddy and Julie Miller, and Mary Gauthier, Gurf hung, played and performed with the Austin-based songwriter Blaze Foley. On February 1, 2011, Gurf released a 15 song collection of Blaze's songs, called Blaze Foley's 113th Wet Dream. The cd was released in conjunction with the documentary, Blaze Foley: Duct Tape Messiah, which has been 12 years in the making. Following the release, Gurf will be touring throughout North America together with the documentary screenings. Gurf, a native of Buffalo, NY, struck out for warmer climes as soon as he could and one of the first folks he met when he arrived in Austin in was Blaze Foley. In 1976, Blaze came to one of Gurf's shows, introduced himself, and invited Gurf to his first Austin gig. They hit it off and for the next few years, the two iconoclasts were runnin' buddies. A few years ago, Gurf wrote: “Blaze Foley – soulful, passionate singer songwriter. Champion of the downtrodden. Friend of the working Girl. Truth seeker. Atmospheric disturbance. Tender caring person with a big ol' bag of deep-rooted troubles stuffed down into one of his pockets. Blaze could cut right through the bullshit, or he could be the cause of it. The funniest person I ever met, and also the most tragic”. Blaze, a colorful, but flawed character, was murdered in 1989 at the age of 39. Recording an album of Blaze's music is something Gurf's been wanting to do for more than 20 years. Now is the time. Gurf knows that Blaze's honest, heartfelt words will resonate with today's audience. Blaze is finally having the career he wanted..
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10 schedule::attendeesLocation Saxon Pub
event::about BettySoo is an Austin-based songwriter who travels nationally (and internationally) performing and teaching. Her musical styles span several genres: folk, country, gospel, and rock. Her latest album, Heat Sin Water Skin, produced by Gurf Morlix, was hailed by fans and critics alike. In early 2011, she recorded an album with Canadian Dobro master Doug Cox, and their new album Across the Borderline / Lie To Me will be released in summer of 2011.
to 10:00 PM
1 schedule::attendeesLocation Saxon Pub
Artists Hadden Sayers
event::about Hadden Sayers is gearing up to catch the attention of the roots music world. The Texas-bred Sayers artfully combines his love for the blues and his Americana-leaning songwriting craftsmanship on his new album 'Hard Dollar', scheduled for release May 3 and to be followed by a national tour. Sayers continues to grow his career, driven by extensive touring, radio airplay, and word of mouth. He has played guitar in B.B. King's rhythm section The Silent Partners, and for the Blues Foundation's Female Blues Artist of the Year. Grammy Award-nominated Ruthie Foster. He has also performed at some of the most prestigious blues and jazz festivals in the world, including Monterey and Telluride, while sharing the stage with Bonnie Raitt, Los Lobos, Lynyrd Skynyrd, Derek Trucks, Bruce Hornsby, Delbert Mclinton, Darius Rucker and many others. After a hiatus from his own touring career, Hadden is poised to re-enter the spotlight as a bandleader with the release of 'Hard Dollar'.
to 11:00 PM
9 schedule::attendeesLocation Saxon Pub
Artists Jesse Woods
event::about In the summer of 2010, Jesse Woods was handpicked out of his garage in Austin, TX by Neon Indian to cover their track 'Mind, Drips'. The song was used as the lead promotional single for their Psychic Chasms re-release on the Fader magazine record label. Later that summer, Jesse went on an 11-date West Coast co-headline tour with Bill Baird (Sunset). Jesse thereafter released a 4-song EP on vinyl called 'Moon Rocks'. The lead single, 'Sparks', was in the top 20 of both the Hypem and WeAreHunted charts. Jesse just returned from Vail Valley, CO where he performed at the Snow Ball Festival with The Flaming Lips, Edward Sharpe and the Magnetic Zeroes, Local Natives, Portugal. The Man, and many more. He is currently in the studio finishing up his first full length record which is to be released by Lefse Records in the Spring of 2011.
to 12:00 AM
to 1:00 AM
to 2:00 AM
3 schedule::attendeesLocation Saxon Pub
Artists Charlie Shafter
event::about Charlie Shafter brings a refreshing combination of old school southern rock blended seamlessly with a modern indie pop vibe, an Alternative Americana if you will. With early influences such as The Band, Tom Waits and The Carsit's, no wonder he is writing music with a wisdom beyond his years. Music veteran Ray Wylie Hubbard, not one to be easily impressed, signed on to produce Shafter's upcoming CD due to his skilled songwriting, which Hubbard describes as "uncomplicated, yet complex, profound and always with a purpose." Whether you catch him playing a solo acoustic set or rocking with a full band, his engaging sound will make a believer out of you too.