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| The Split Squad |
I arrived in time for “Aw
Shit Man,” the last song of what I was told was a killer Minus 5 set
featuring Linda Pitmon on drums. But I didn’t miss any of The Split Squad, which
had thrilled me enough two days earlier that I went back for a second helping.
It was a shorter set, but just as intensely entertaining, with guitarist Keith
Streng once again up to his crowd-mixing antics. And this time he was joined by
fellow guitarist Eddie Munoz, who was once again introduced by lead singer
Michael Giblin as a great guitarist but a “terrible, terrible human being.”
Pitmon was enjoying it from the side of the stage while dancing and playing a
tambourine.
Watch part of The Split Squad's performance here, courtesy of Matzoh Ball.
Watch part of The Split Squad's performance here, courtesy of Matzoh Ball.
It was the same deal with
beer as the day before. Pay three bucks for the first one and then just a
dollar for refills if you kept your cup. This time I moved up in strength to
Lagunitas Little Sumpin’, a hoppy, crisp and delicious ale that packed a
7.5-per cent alcohol wallop. Austin institution Allen Oldie stood behind me in
line. I unfortunately didn’t catch his nostalgic band this year.
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| Ian McLagan |
But I did see Ian McLagan
and The Bump Band, who I’d meant to spend time with on past visits but didn’t.
The 67-year-old former Small Faces keyboardist — who also sang and was
accompanied by three excellent musicians — primarily stuck to solo material,
including “Been A Long Time,” “Don’t Say Nothing At All,” “I Will Follow” and
the closing “All I Want To Do.” But the blues-rock outfit also reached back
into the Faces catalogue for “You’re So Rude,” which was the B-side to “Stay
With Me.”
I had another Little Sumpin’
for Ian Moore and The Lossy Coils, who were joined on keyboards by Ken
Stringfellow (The Posies, Big Star). Things began somewhat slowly and then
picked up, and that back and forth pattern continued through much of the set, and my thoughts
on it were also mixed. Scott McCaughey (The Minus Five, The Venus Three)
joined on guitar and vocals for the final song.
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| The James Hunter Six |
I made my way back north to
the Auditorium Shores Stage, a large public space on the bank of Town Lake, to
see The James Hunter Six. The nattily attired British singer/guitarist and his
crack band (featuring upright bass, drums, keyboards and two saxophones) exuded
class with their mix of soul, blues, rock and pop on songs including “One Way
Love,” “Chicken Switch,” “Let The Monkey Ride,” “The Gypsy,” “Minute by
Minute,” “Jacqueline” and “Carina,” which had a pleasantly surprising ska
flavour. The 50-year-old Hunter ended a more than impressive set by playing
guitar while doing a Cossack dance on “Talking ‘Bout My Love.” You try doing
that in a black three-piece suit when it’s 35 degrees Celsius. Consider me a
convert to this man and his band’s classic, timeless music.
Women standing sidestage
during Hunter’s set were dancing along and signing the lyrics, which was
appropriate since the Texas School for the Deaf was just down the street. It
was a nice touch.
I dropped by The Agency
party at Lambert’s for a couple of free margaritas and to pay my respects to a
few people before stopping for a beer and some catch-up on my computer before
it was time to venture out again to see Robyn Hitchcock and several of his
friends at The Ginger Man at 7 p.m.
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| Robyn Hitchcock |
I’d talked to Hitchcock earlier in the week for Spinner about this show, and other things, and this extended set
was one of my anticipated highlights of the week. It didn’t disappoint. I found
a seat at a table near the front with my Bear Racer 5 IPA, and Hitchcock walked out by
himself with his acoustic guitar and opened with “Nietzche’s Way.” He put on
the harmonica for “Only The Stones Remain” and acknowledged his recent 60th
birthday by saying, “I’ve crossed the valley into senility.”
Hitchcock continued with
“Dismal City” before Linda Pitmon (who rejected my
marriage proposal at SXSW several years ago, but I’ve never held it against
her) walked out to join him by adding percussion via maracas, tambourine and a
shaker. R.E.M.'s Scott McCaughey (bass) and Bill Rieflin (percussion) joined
shortly thereafter for “Be Still” from the new Love From London album. A
Hitchcock rap about the new pope morphed into “Ole Tarantula,” with R.E.M.
bassist Mike Mills adding his voice to all of the fans who sang along with the
chorus. Another Venus 3 song, the rollicking “Adventure Rocketship,” followed.
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| Robyn Hitchcock, Bill Rieflin and Scott McCaughey |
“Queen Elvis” continued the
momentum, as did a cover of Bob Dylan’s “Tangled Up In Blue,” which accompanied
me to the bar to buy a pint of Texas-made winter stout whose name escapes me,
and a cover of David Bowie’s “Soul Love.” Ken Stringfellow and Kelly Hogan
joined the ensemble to add backing vocals and “Madonna of the Wasps” stung
beautifully before Hitchcock’s long introduction to “(A Man’s Gotta Know His
Limitations) Briggs.” Stringfellow played keyboards on “Airscape.”
A birthday cake was brought
out and the audience sang the requisite song before Hitchcock strapped on an
electric guitar, Rieflin got behind the drum kit and The Fastbacks’ Kurt Bloch
came on with his guitar to join McCaughey, Pitmon and Stringfellow on three
brilliant Beatles covers to end the 90-minute set: “I’ve Got A Feeling,” “Don’t
Let Me Down” and “One After 909.”
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| Tijuana Panthers |
I was sure nothing was going
to surpass what I just saw, but there were still five more hours to fill before
the clubs closed, so I moved on to a relatively uncrowded Maggie Mae’s Gibson
Room to see Long Beach, Calif. garage/surf/punk trio Tijuana Panthers. I liked
things more as the set went on, with a cover of Buzzcocks’ “Everybody’s Happy
Nowadays” and a song that sounded a bit like The Undertones’ “Teenage Kicks”
standing out above the rest.
There was more garage rock
happening at The Parish Underground, beginning with Subsonics at 10 p.m. The
trio was fun, but not as special as I was hoping for, although it did become
more energized as the set went on.
Watch Subsonics perform "I Made You A Clown" here, courtesy of Matzoh Ball.
Watch Subsonics perform "I Made You A Clown" here, courtesy of Matzoh Ball.
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| The Ugly Beats' Jeanine Attaway |
I wasn’t feeling
particularly energized, but I found a comfortable seat and decided to be lazy
and stick around for The Ugly Beats. I’d seen the Austin band at past SXSWs and
enjoyed its brand of good-natured, hooky garage rock, and it was the same story
tonight when the quintet crammed on to the small stage.
Keyboardist/tambourinist Jeanine Attaway definitely isn’t ugly, but I’d
probably think that Abe Vigoda was hot if he was playing an Acetone the way she
was. “Throw Me A Line,” “Brand New Day” and a rocking instrumental were among
the highlights that rejuvenated me enough to move on at the end of the set with
new vigour in my step.
I arrived at Dirty Dog Bar
before BP Fallon began his set and I briefly talked to the diminutive,
soft-spoken, 66-year-old Irishman, who reminded me a bit of Charlie Chaplin in
his black suit and bowler hat. Fallon has a dry, droll vocal delivery, but his
group The Bandits had a lot of power behind him. The band is Blondie bassist
Nigel Harrison and drummer Clem Burke along with guitarist Aaron Lee Tasjan,
who played with the reformed New York Dolls. And Stooges drummer Scott Asheton even
subbed in for Burke for a song.
Fallon opened with “I Saw
Her Face” and worked through a thoroughly entertaining set that also included
“Fond of Cocaine,” “Does Anyone Care What Anyone Says in Rock’n’Roll” and a
killer cover of Van Morrison’s “Gloria,” where Fallon relieved the pressure on
his pink Chuck Taylor-adorned feet by getting down on his knees to sing.
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| BP Fallon & The Bandits |
In case you’re wondering how
someone you’ve likely never heard of can attract such star power into his band
to help record his Still Legal debut album at the age where most people are retiring, here’s
a sample of Fallon's resume: He's an author and photographer who worked with
the Beatles in the late ‘60s, was the publicist for Thin Lizzy and T. Rex and
toured with Led Zeppelin in the ‘70s, represented Ian Dury, appeared in John
Lennon’s “Instant Karma” video, DJed on tours for U2, My Bloody Valentine and
The Kills, opened the Death Disco club with Creation Records founder Alan McGee,
and was approached by Jack White to make his first seven-inch single.
I went from old to very
young for my last band of the night, moving on to Latitude 30 to see British
buzz band The Orwells. The punk-based outfit was good, but I’d hoped for more,
although I was impressed with its cover of The Stooges’ “Now I Wanna Be Your
Dog.” Give this band a few years and it should be capable of achieving big
things.
I wound down at the condo
with a couple of nightcaps, my friends and my laptop until the time felt right
to hit the sack at 4 a.m.
Amount of money spent on
food during SXSW thus far: $0.
