Category: music

SXSW interview with Director of ‘A Song For You: The Austin City Limits Story’

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BECK. Imagery provided by Go-Valley Films.

Directed by Keith Maitland, “A Song For You: The Austin City Limits Story” held its world premiere at The Paramount Theatre in Austin, Texas during SXSW on Mar. 17, 2016. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year. And this year Keith Maitland and his teammates debuted two films for the first time at SXSW 2016. “A Song For You: The Austin City Limits Story” is a vibrant, intimate and engaging documentary covering 40 years and four decades of live music filmed for the beloved television show Austin City Limits (ACL). It’s a playful and raw story—an immaculate collection of great artists and their bands that took the stage at Austin City Limits. Director Keith Maitland shares the unique story of how ACL began with ‘janky’ sound equipment and soon morphed into the longest running music show in television history.

Artists that appear within the documentary include the following: Willie Nelson, Townes Van Zandt, Steve Ray Vaughan, Beck, Johnny Cash, Bonnie Raitt, Ray Charles, Emmylou Harris, Buddy Guy, Jeff Bridges, Matthew McConaughey, Lyle Lovett, Sheryl Crow, Dolly Parton, Radiohead, B.B. King, Lighting Hopkins, The Avett Brothers, Talking Heads, Garth Brooks, Thao Nguyen and more. “Long-time producer of Austin City Limits, Terry Lickona, also transcends the TV show and gives audiences a front-row seat and backstage pass to the greatest performances of the longest running music show in television history.”

One prime reason “A Song For You” is described as the ‘ultimate backstage pass’ to Austin City Limits is because it entails endless video clippings from numerous performances filmed live at ACL alongside annotations of those who were there first-hand to experience the performances. The audience is granted the inside track regarding many ACL shows, off-stage and-onstage. Watching the artists and the production team work their magic. Feeling as if we were there, too. Hearing about the highs-and-lows of the non-stop adventure—’the flood of memories’—it’s an adrenaline rush to the heart and soul. Listening to the music, hearing the interviews and seeing it all unfold and come to life at once makes the documentary unforgettable.

Director Keith Maitland did an immaculate job of intertwining 40 years of history into 96 minutes. “A Song For You” opens with Dale Watson solely because he was the featured artist on the final episode filmed for Season 39 by Austin City Limits. Once Maitland sets the scene in present day, the Director takes us all the way back to the beginning when Willie Nelson played for ACL in 1974 and tells the story in a retrospective way. Obviously, music is the core of Austin City Limits: their universal love of music and their never-ending desire to showcase musical masters and the up-and-coming talent. The title of the film is also befitting because without the audience, Austin City Limits wouldn’t have thrived. The show needs the audience as much as we need the show. You won’t want this film to end it’s that exciting, but when it does. As the credits come to a close, there is a video of Ray Charles singing “Deep In The Heart of Texas”. Which is where it all began, deep in the hearts of Texans. Or at least those living in Texans even if born elsewhere… Many of the artists in the film are still living, others have died and passed on. But the story of Austin City Limits will live on forever.

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Imagery provided by Go-Valley Films.

Fortunately, this week the Director Keith Maitland met with Austin Examiner, Nicolette Mallow, at The Driskill Hotel to talk about “A Song For You: The Austin City Limits Story” and how this delightful documentary came to fruition. Maitland also touched briefly on his other film, “Tower” that screened at the SXSW 2016 festival, too. [“Tower” is about the sniper in August of 1966 who rode the elevator to the top and held people hostage from The University of Texas Tower for 96 minutes, and at the end of his tyranny he’d taken 16 lives and wounded over three dozen.]

Nicolette Mallow: What compelled you to make a film about Austin City Limits? Do you simply love the show and what it stands for? Or do you have a strong affiliation with the city of Austin, too? I noticed both of your films pertained to Austin, Texas.

Keith Maitland: I attended The University of Texas at Austin from 1994 to 1998. Then I lived in NYC for ten years. About ten years ago, I moved back to Austin. And yes, live music is something I’ve always loved … In the 1990’s, I saw a few ACL tapings. I even sneaked backstage a few times. Once I snuck onto Willie Nelson’s tour bus in 1998. I had a knack for sneaking backstage. And that’s really what I wanted this documentary to capture: the energy and excitement of a wide-eyed fan… How this project came about is that I used to work at KLRU. And then a few years ago, a PBS Executive in DC called me about Austin City Limits and their 40th anniversary.

NM: How were you able to pick and choose a specific list of videos from an endless supply of ACL performances?

KM: That was no easy task and there was simply no way to honor all of the artistic talent that has premiered on the show. Austin City Limits has showcased around 800 performers and their bands. That’s a rough estimate and not an exact number, but my point is that it was impossible to include everyone in 96 minutes. I asked the production crew for a list of their favorites, and that was hard for them as well. So rather than pick out favorites, together, we oriented the set list around pivotal moments of the show.

NM: I noticed the documentary focused a great deal on Beck, Willie Nelson, and Stevie Ray Vaughan. All very big artists that are loved by Austin and around the globe… Personally I loved the footage in your film of Beck’s performance at ACL. And I actually went to middle school and high school with Willie’s nephew, Trevor. Any reason you chose those three to focus on?

KM: Beck is one of my absolute favorite artists and his presence in the film portrays the musical energy of present day. It was so cool to book an interview with him and quite rare for us to get the chance. Beck is very exclusive about interviews. I think it had been about ten years since Beck had consented to an on-camera documentary interview. So that was a huge honor and I know the only reason we were able to book it is because of Beck’s love for Austin City Limits… In regards to the other two artists. There are two statues of musicians in downtown Austin: Willie Nelson and Stevie Ray Vaughan. Their names were paramount to the story because they have each cast a shadow over the legacy of this town… Plus, Willie Nelson is the first artist to perform for the show and he’s from Austin. Also, the producers of ACL absolutely adore those two. And I can tell they had a very personal friendship with Stevie Ray Vaughan and that the absence of his presence still stings the ACL family.

NM: Did you enjoy interviewing the production crew, and specifically (the producer) Terry Lickona, from the ACL crew?

KM: Yes. I did. One of my favorite parts of the film is at the end when we are asking all the employees at ACL about what lead them to their job and what their role in the company is… Terry Lickona is just a great person in addition to being a fantastic producer. He is also a live music devourer. And he is always looking to the future and ‘what’s next’ which keeps the show fresh and exciting. He is a people’s people and is constantly out there absorbing the latest news pertaining to music. Terry’s loyalty to the show— and the loyalty of the entire ACL crew—it’s astounding. They’re an amazing team. And come on, it’s a pretty sweet gig to work.

NM: My last question is about your other film “Tower”. The other day I saw “A Song For You” at the Violet Crown and I adore it. But I’ve yet to see this one. My question is, many people have made movies or written stories about the 1966 sniper that murdered people from the UT Tower on the UT campus. What defines your story from all the rest and makes it so unique?

KM: Yes a lot of people have covered this story. What makes my take on it unique is that I don’t focus on the sniper. I focus on the witnesses, the heroes and the survivors of the story. The sniper is obviously mentioned and he’s part of the story. But he’s almost like the shark in the movie “Jaws” and how we don’t really see him until the end. We just hear the music and know what’s coming. “Tower” is a story of humanity at its best and worst. We get to see the people who put their lives at risk to save another. We also get to hear accounts from those who were frozen in fear, unable to help, and the shame they felt for being paralyzed with fear. But it’s very touching to hear the stories. A lot of people risked their lives to come to the rescue of those bloodied, bleeding and wounded… There is a little bit of us all in these characters and I wanted people to be able to relate to the story. Not the sniper.

For more information regarding “A Song For You: The Austin City Limits Story” please visit the official website at www.asongforyoufilm.com. To learn more about Austin City Limits (ACL) and to search upcoming performances: please check out their web page at www.acl-live.com.

Note: This article was originally published on Examiner.com in March 2016. 

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Composer Kerry Muzzey talks about writing the score for ‘The Seer’ at SXSW

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Kerry Muzzey. Photography by Simon Whiteside.

World-renowned modern and classical composer, Kerry Muzzey, wrote the musical score for “The Seer: A Portrait of Wendell Berry”, a documentary directed by Laura Dunn and executive produced by Oscar winner Robert Redford and Oscar nominee Terrence Malick. “The Seer” held its world premiere on Mar. 12, 2016 at SXSW in Austin, Texas. Composer Kerry Muzzey and the crew of “The Seer” hit the red carpet several times to promote their newly released, award-winning documentary. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year. And this year “The Seer” was awarded the ‘Special Jury Recognition for Cinematography’ for SXSW 2016.

Music is a key element within the world of cinema and Kerry Muzzey knows how to set the scene, musically, with his innate gifts of sound and music. The score for “The Seer” is absolutely lovely and befitting to the story without dominating or overpowering the documentary. On Mar. 15, 2016, Kerry Muzzey consented to a phone interview with Austin Examiner, Nicolette Mallow, to talk more about creating the score of “The Seer” and his musical background that lead him to Hollywood and SXSW.

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A little more about the synopsis of the film in preface to the interview: “The story of ‘The Seer’ revolves around the divergent stories of several residents of Henry County, Kentucky who each face difficult choices that will dramatically reshape their relationship with the land and their community… Henry County, Kentucky, like many rural landscapes across America, has become a place of quiet ideological struggle. In the span of a generation, virtues of simplicity, land stewardship, local economies and rootedness to place have been supplanted by a capital-intensive model of industrial agriculture characterized by machine labor, chemical fertilizers, soil erosion and debt—all of which have frayed the fabric of communities. Writing from a long wooden desk beneath a forty-paned window, Wendell Berry has watched this struggle unfold, becoming one the most passionate and eloquent voices in defense of agrarian life… Filmed across four seasons in the farming cycle, ‘The Seer’ blends observational scenes of farming life, interviews with farmers and community members with evocative, carefully framed shots of the surrounding landscape. Thus, in the spirit of Berry’s agrarian philosophy, Henry County itself will emerge as a character in the film – a place and a landscape that is deeply interdependent with the people that inhabit it.”

Nicolette Mallow: When did you begin playing music? Would you mind telling me a little bit about your artistic background?

Kerry Muzzey: When I was 10 years old I started learning on classical organ. By the age of 11, I began writing music. But really it goes back even further than that because when I was 6 or 7 years old, I recall going to see “Star Wars”. Sitting there in the theater as a kid, when the film started rolling and the music came out of the speakers: it gave me goose bumps. I’ll never forget the feeling, even now. The music blew me away and all I could think about the rest of the day was “Star Wars” and its musical score. I have extreme reverence for John Williams. And I believe many composers can say that John Williams’ music was and is a true inspiration. Right after that movie I went out and bought the soundtrack on vinyl and listened to it on those giant headphones from the 1970’s. The music sounded like classical but it was more specific and inspiring. It was very intense and evocative for a child because it was focused and in conjunction with the picture… As a child I wanted to be a composer, a spy and an airline pilot. I dreamt of becoming many professions just like any little kid would. Yet I always kept coming back to music. My mother raised me entirely on classical and she told me that when I was in her womb: she played classical music for me and held the headphones next to her belly for 30 minutes a day for nine months.

NM: It seems as if you were destined to be a composer.

KM: Yes, and even though I started writing at the age of 11. It wasn’t until I turned 16 that my mother’s friend moved away and gave us their piano. I remember getting that piano and my family could not pull me away from it… Just the sound of a piano allured me. Complex piano compositions resonated with me so deeply even then. Because when you are playing a physical instrument: you can feel the hammers and strings inside its giant wooden case. It resonates in your heart and your hands. You can literally feel the sound as you’re playing music. It’s very powerful. That is around the time I began writing solo piano stuff. Playing the orchestra I heard inside my head. At the time, technology for music was not yet available to create an orchestra inside of a computer. So, it was a little different back then.

NM: I listened to the score you composed for “The Seer” in its entirety, twice. You wrote such beautiful music that compelled my mind to travel through time and feel nostalgic. The song “Daughter” struck a chord with me, in a good way… Was the music meant to be evocative? What is the biggest difference between writing music for a narrative feature versus writing a score for a documentary film?

KM: That is an awesome question. Writing music for a documentary was a challenge that took me quite a few tries to overcome. A narrative film is a completely different process than composing music for a documentary. Writing music for a documentary has to be subtle. The music cannot overpower the picture and it has to stay out of the way of the picture. The score cannot be traditional. For instance, a narrative feature film has a soundtrack of very specifically engineered music. It is written to make the audience feel something at that moment, so when the hero saves the world or the couple finally gets their big kiss: you expect the soaring strings. When making music for a documentary, if you’re too on the nose, or if you’re trying to punch it up too much, it can become a distraction. The audience that attends documentaries and is loyal to documentaries is also a highly intelligent crew. And you cannot use music to try and manipulate the audience into feeling a certain way. The music is simply there to beautify and assist the story as it unfolds in its own natural state.

NM: If you had to pick one song from the soundtrack of “The Seer”, which track encapsulates the spirit of the film? I’m curious to know which song is the beating heart of your composition.

KM: Yes, I can pick one. I believe it’s the sixth track and it’s a song called “Forty Panes”. It’s also the Director’s favorite (Laura Dunn). It’s a song about Wendell Barry and it has piano and cellos in the melody. It was magical to write and it kind of came out of nowhere. I was so in love with it that I actually got my cellist to record it before I even played it for Laura. Which is kind of dangerous because I am paying the cellist for his time. But I loved this cue so much. The way it resonates with the picture and how it struck a perfect balance… It’s the crux of everything and it’s beautiful… I sent the piece out to the Director and I was stalking my email waiting for Laura’s response. Two hours passed by and I feared the worst. And then her email arrived with a response, “I keep watching it over and over—and I kept crying every time I felt the music—and I don’t know why.” Right then, I knew that I got it right… The Director of “The Seer” is not only a good person, but she’s extremely smart and talented. She’s amazing and cool and I wanted her to love the soundtrack. Talking to her the other day, we spoke of that piece in particular as it being the high point in the films soundtrack: simple and quiet, but against the picture it can’t be anything else but exactly that… This wasn’t my first project with Laura Dunn, either. About eight years ago, Laura made a film, “The Unforeseen” about over development in-and-around Austin. The core of it predicted the housing crash a year prior to the fact. At the time she had licensed a few pieces of mine to use. Years later we reconnected and in this case she wanted me to score the entire film. Obviously I said yes and it’s been an amazing project. Laura and her team are so great at what they do.

NM: Do you have any upcoming projects that we can look forward to?

KM: Yes, I do have future projects. Presently I cannot say much because it hasn’t been formally announced yet. What I can say is that I am writing a full-length ballet for a full orchestra. And it premieres in London next May of 2017. This job sort of came out of left field. It’s a very heavy lift for me, it’s a huge challenge, but I am so excited to work with this choreographer and their innovative team. I couldn’t say ‘yes’ fast enough.

For more information regarding Kerry Muzzey or the movie, “The Seer: A Portrait of Wendell Berry”: please visit www.kerrymuzzey.com or www.theseerfilm.com.

Note: This article was originally published on Examiner.com in March 2016. 

Stardust art legend David Bowie dies after his 69th birthday

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A mural of David Bowie in Brixton on January 11, 2016 within London, England. Photo by Carl Court/Getty Images.

Yesterday the world lost an illustrious artist: David Bowie. After battling cancer in secret for 18 months, Starman David Bowie died on January 10, 2016 at the age of 69. Around the globe fans are mourning the loss and memorializing the life of their beloved Bowie.

Since the 1960’s, David Bowie illuminated and fascinated the world with his magnetic and cosmic career in the arts. Born in England on January 8, 1947, David Robert Jones—better known by his stage name David Bowie—soon become a universal icon. Bowie’s distinct presence and energetic life force permanently transcended the music, art and fashion industries with his unique sound, vision and style. David Bowie is also recognized by his many alter-personas that include the following: Ziggy Stardust, Thin White Duke, Major Tom, Aladdin Sane, Halloween Jack, and Elephant Man. Partaking in various films as well, Bowie is notorious for his role as the Goblin King in the film Labyrinth which debuted in 1986.

On the day of Bowie’s 69th birthday—January 8, 2016—he released a final studio album titled Blackstar. A hauntingly beautiful album of seven songs, Blackstar almost reminds listeners of an artistic and modernized requiem. The Telegraph posted an article stating, “David Bowie’s final record was a carefully-orchestrated farewell to his fans, his producer has confirmed. Lazarus, released on the Bowie’s 69th birthday just two days before his death, opens with the lyrics: ‘Look up here, I’m in Heaven!’ Tony Visconti, the producer who worked with Bowie to complete his final album, has released a statement saying it was deliberately created and timed as a ‘parting gift’ for his fans.”

Even though David Bowie’s mortal life may have come to an end. Thankfully his spirit will live on forever within the art world and our hearts. Returning back to the stars that gleam in the galaxies above—David Bowie’s legendary artistic career will radiate eternally on planet earth.

Note: This article is originally published on Rank & Revue Feb. 2016.

Elvis Costello’s memoir: Unfaithful Music & Disappearing Ink

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Autograph by Elvis Costello.

Elvis Costello was the featured guest for an interview with Evan Smith at Book People in Austin, Texas on October 20, 2015. Recently, Costello wrote a memoir titled Unfaithful Music & Disappearing Ink. This exclusive interview was part of his book tour. Entering the room with a light-colored hat, dark suit and vest, black-framed glasses, one gold ring on each hand and slick, black leather shoes: Elvis Costello descended the stairwell from the third floor to discuss the book and his life lived in music thus far. The entire second floor of Book People was filled with attendees and so many people were present that quite a few were listening in the back without a view of Elvis Costello; only able to hear voices echoing over the microphones. Fortunately I was able to grab a front row seat and sit on the floor.

Music is clearly the anthem of his life and the focus of his career. He’s been part of the industry over 40 years. The book is a collection of memoirs entailing his entire life, with a emphasis on his career. During the interview Elvis Costello answered numerous questions and mentioned various musical stories regarding Paul McCartney, The Beatles, T Bone Burnett, Tony Byrne, Jimmie Vaughan, and Jimi Hendrix. Reluctantly, he even rehashed the old SNL incident back in December 1977 that got him banned from the show for nearly 12 years. Additionally, he spoke of his favorite gigs played in Austin and the time they performed at the Armadillo Festival in 1978.

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To much delight, Costello was also very open and willing to share the more personal stories of his past about family, his love and lust for women, or the curse of memory. Costello mentioned that memory, and the fear of losing memory, were two strong factors that compelled him to write the book. He discussed the long process of writing his autobiography and how the process was simplified with the patient support of his wife through her assistance to help organize old memories. Many of his relatives, he said, suffered dementia and Costello didn’t want any memories stolen away in the event that time or health altered his mind. Unafraid to go behind-the-scenes and express life offstage, it was interesting to listen to him speak about how he’s changed over several decades from when he began his musical career as a young man in his 20’s until now in his 60’s. “I wanted my stories to be told by me, in accuracy. I didn’t want them retold in a way that didn’t hold true to my life,” he stated to Evan Smith.

In regards to Elvis Costello’s past, the topic of family and his memories of childhood were predominant, reoccurring themes throughout the interview. Many old photographs of times past were presented on a large screen, even a heartfelt video of his father performing live on television and dancing on stage whilst singing “If I Had A Hammer”. Elvis Costellospoke fondly about both his parents and there was great love and adoration in his voice when he shared old memories and his love for family. Nonetheless, there was a huge emphasis on his father, Ross McManus, a well-known musician and trumpet player. In fact, Costello made a point to inform the audience that October 20th, that very day, was indeed his father’s birthday. A particularly poignant memory of childhood included Costello telling the audience how he peeked around the back of the TV as a small boy to see if he might find his father behind the machine, only to realize that his dad was on stage in a studio. I found those sorts of memories to be the most endearing because only a child could think someone or something could transform into a miniature size and fit inside a TV. Costello’s honesty and his ability to tell old memories as if he were reliving it that very moment humanized his life story and made the interview all the more refreshing to hear.

Growing up in a house of music, all my life I’d heard the name ‘Elvis Costello’ and I knew he was a musician, singer-songwriter and record producer from England. I knew he’d been inducted into the Rock and Roll Hall of Fame and I knew he’d been to Austin many times to perform. The city of Austin has always loved hosting Elvis Costello shows and over the past 20 years: I’d seen his name printed all over line-ups in the press. But to be quite frank, I really had no idea how in-depth his career was or how influential he was until this interview and until I began reading his memoir. Not only did I walk away that night learning and absorbing new insights about a famous musician born in Europe. That evening I became an Elvis Costello enthusiast. Just listening to the stories during the interview had me intrigued, eager to finish the rest of his book I’d only obtained one day prior to the event. However, the moment when he surprised us with live music and began to play “Everyday I Write the Book” and I heard those lyrics for the first time only a few feet away from Elvis Costello in the flesh and blood: I felt a strong connection to the music. I wanted to hear more. My heart was so deeply moved by the words in his lyrics that it almost made me want to cry, in a good way. Since then I’ve started to read many of his lyrics and it’s clear to me now why he’s become a global success for 40 years. Elvis Costello is an artist whom posses a distinct voice and an edge. An artist that followed his heart and writes from the heart. A one-of-a-kind artist with innate gifts of articulation, imagination and passion. Gifts that cannot be taught nor bought.

Furthermore, Costello read a few chapters from his newly released memoir, Unfaithful Music & Disappearing Ink. Ending the evening on a high note, that’s when he played a bit of live music for the audience. We even got a little history lesson about his guitar in-between songs. A short video of his performance that I recorded from my seat can be found here on YouTube: Elvis Costello playing music at Book People.

Elvis Costello’s memoir was released in October 2015. The nearly 700 page story hasn’t been on the bookshelves that long but it’s already receiving quite a bit of positive feedback and attention from the media. Posted verbatim on his official website, “Born Declan Patrick MacManus, Elvis Costello was raised in London and Liverpool, grandson of a trumpet player on the White Star Line and son of a jazz musician who became a successful radio dance-band vocalist. Costello went into the family business and before he was twenty-four took the popular music world by storm. Costello continues to add to one of the most intriguing and extensive songbooks of our day. His performances have taken him from strumming a cardboard guitar in his parents’ front room to fronting a rock and roll band on our television screens and performing in the world’s greatest concert halls in a wild variety of company. Unfaithful Music & Disappearing Ink describes how Costello’s career has endured for almost four decades through a combination of dumb luck and animal cunning, even managing the occasional absurd episode of pop stardom. This memoir, written entirely by Costello, offers his unique view of his unlikely and sometimes comical rise to international success, with diversions through the previously undocumented emotional foundations of some of his best-known songs and the hits of tomorrow. It features many stories and observations about his renowned cowriters and co-conspirators, though Costello also pauses along the way for considerations of the less appealing side of fame.”

Unfaithful Music & Disappearing Ink can be purchased online or at your local bookstore. For more information regarding Elvis Costello, his book tour, list of albums or other miscellany: please visit the website at www.elviscostello.com.

“Don’t tell me you don’t know what love is. When you’re old enough to know better. When you find strange hands in your sweater. When your dreamboat turns out to be a footnote. I’m a man with a mission in two or three editions. And I’m giving you a longing look. Everyday, everyday, everyday I write the book. Chapter One we didn’t really get along. Chapter Two I think I fell in love with you. You said you’d stand by me in the middle of Chapter Three. But you were up to your old tricks in Chapters Four, Five and Six. The way you walk. The way you talk, and try to kiss me, and laugh. In four or five paragraphs. All your compliments and your cutting remarks. Are captured here in my quotation marks. Don’t tell me you don’t know the difference. Between a lover and a fighter. With my pen and my electric typewriter. Even in a perfect world where everyone was equal. I’d still own the film rights and be working on the sequel… Everyday I write the book.” – Elvis Costello

Note: This story is originally published on Rank & Revue in July 2015.

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Tears of Diamonds & A Heart of Silver: The Legendary Bill Carter and The Blame

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Bill Carter. Photography by Pat Kondelis.

Walking into The High Road to see Bill Carter play music, I knew I would recognize him on stage but I was ambivalent whether or not he would recognize me in return. For six years at a distance, periodically on Wednesday nights I’ve seen and heard Bill Carter perform with other artists in the annex at Z Tejas on West 6th street in Austin, Texas. Everyone always loves the nights they perform at the Z, even the staff. Sometimes you cannot even get a seat because it’s so full. From a distance I noticed Mr. Carter always wore glasses, a hat of some sort, and I detected that he possessed a lot of tattoos on his hands and forearms with heavy-looking, silver and metallic jewelry adorning his wrists, fingers and neck. He looked like a rock star, and I always thought he must’ve been a cool cat to talk to. Come to think on it, I never actually had a direct conversation with Mr. Carter, or the band, even if polite hellos and friendly smiles were exchanged. Until today.

Stepping back in time a moment, there was one particular night at the Z when I was sitting at the edge of the bar, people watching. Musicians were on stage, silently setting up shop with their guitars, amps and other miscellany. Pretending to listen to my headphones and iPod so no one would bother me, when in actuality no music was playing at all. I heard a group of older men complimenting the musicians. Pointing out who Bill Carter was amongst the group, I also heard the men say that Johnny Depp once joined Carter on stage to play music at The Continental Club, which I found most interesting and exciting.

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 Finally, after six years of watching from the crowd, I set forth to interview Mr. Carter, and he was kind enough to oblige after the show at The High Road on March 14, 2015. Walking into the room for an early daytime show, behind the stage were giant glass windows that opened up to a swimming pool and a lovely view of downtown Austin. The sky was so blue and there wasn’t a cloud in sight. Palm trees blowing in the wind. I was sitting and listening to Bill Carter’s first song – “Richest Man” – which almost made me cry, in a good way, and I had to fight the urge to show intense emotions of sadness and bittersweet nostalgia at the table before it’s even dusk. Something about the lyrics and the mood of this track reminded me of my favorite song by Bob Dylan titled “Boots of Spanish Leather”.

“If teardrops were diamonds from the African mines. If heartaches were silver.

My whole life would shine. And I’d be the richest man.

I’d be the richest man. In the world.” – Bill Carter

Right at that moment, I looked up the lyrics of Bill Carter’s song. I was reading the words as he was singing them at The High Road, something I had never done before at the Z. Suddenly it dawned on me that I had yet to do my research on his background – or even read his website – which I had intended to do later on in the day. Regardless, as I was reading his website off my iPhone and other various articles about him on the web while he music echoed in my heart and ears. Suddenly I realized just how gifted and innovative Bill Carter is within the world of songwriting and music. Suddenly I felt stupid for never having personally introduced myself to him before to show respect, artist to artist. Until then, I was unaware that I was in the presence of a legend, a keystone to the songwriting and music industry the past few decades. Even if I had known I was in the present of a talented musician.

According to his website, “Bill Carter and The Blame has been a pillar of the Austin music scene for nearly three decades, helping shape the city’s rich musical history along with songwriting partner Ruth Ellsworth. Over 200 artists have found gold in the songwriting genius of this Texas Troubadour, including Stevie Ray Vaughan, The Fabulous Thunderbirds, Robert Palmer,The Counting Crows, Storyville, Omar and The Howlers, The Brian Setzer Orchestra, Ruth Brown, John Anderson, and Waylon Jennings. Bill Carter and The Blame’s evolving lineup has hosted some of the world’s greatest musicians, including guitarists Charlie Sexton and Denny Freeman (Bob Dylan Band), Chris Layton (SRV Double Trouble), Dony Wynn (Robert Palmer), Mike Thompson (The Eagles), Johnny Depp, Billy Gibbons, Brian Setzer and many others. Carter is also a founding member of the famed Hollywood band “P” with Gibby Haynes of The Butthole Surfers, Johnny Depp, and Sal Jenco. They released the eponymous album ‘P’ in 1995 on Capitol Records, featuring Steve Jones from the Sex Pistols, Flea, and Ruth Ellsworth.”

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Bill Carter and Johnny Depp on The Late Show with David Letterman.

As the show at The High Road came to an end, I was almost too timid to walk up to the stage to introduce myself and kindly ask for an interview once he broke down his equipment on stage. Though I am glad I mustered up the courage to make a proper introduction and ultimately write a story about this great artist. Secretly I was also relieved that he recognized me from Z Tejas, which made the introduction less intimidating.

Nicolette Mallow: From the perspective of a songwriter and musician performing in the official SXSW showcase, do you enjoy the festival and how have you seen it change over time?

Bill Carter: Yes. I think it’s great and I think it’s come full circle from how it all began. SXSW has evolved so much over the years. I’ve been in Austin since 1976 and when the first festival took place in 1987: it was predominantly local musicians and it was very small in comparison to what it’s become today, a million times bigger than the start. As time went by, more and more big names came into town, which was nice because it built the festival into something much more powerful. As time went by, however, it seemed to become more about mainstreams artists and less about the local music scene. Now it seems to be an infusion of both, and I am certainly happy to see more local artists performing this year. My wife (and songwriting partner, Ruth Ellsworth) and I first got involved with SXSW through our mutual love for songwriting. She and I have written hundreds of songs together. Honestly I identify most with being a songwriter and I prefer to be recognized as a songwriter more so than I like to be described as a musician or performer.

NM: Regarding the upcoming SXSW show at The Continental Club, which other musicians will be performing with you?

BC: Accompanying me that night will include artists like Will Sexton, Dony Wynn and Charlie Sexton.

NM: Is the Continental Club your favorite venue in Austin to perform at?

BC: (He smiles.) Yes. It is my favorite venue. Many of the venues I grew to love are now long gone. The original Antone’s on West 5th was another place I loved to play music but then it was relocated and it wasn’t the same. They are going to reopen a new Antone’s downtown and I am anxious to see what it is like and if it will have the same vibes as the original location.

My next question was more a question of curiosity. Even though I worried it might seem counterproductive to ask Carter about another artist in the few minutes I had to interview him. I couldn’t help but wonder about the Johnny Depp rumor. I formed a silly, girlish crush on Johnny Depp decades ago after the film “Cry Baby” came out in the 90’s when I was a kid and was saddened when suddenly every girl in the world had a crush on him, too.

NM: I remember hearing at Z Tejas that Johnny Depp once accompanied you on stage at The Continental Club for a musical performance. Is this true?

BC: Yes. I’ve been playing music with Johnny for decades. I’m the godfather of his children and he’s a great friend of mine. We once formed a band in the spur of the moment in the 1990’s called “P”. We were the headlining band for the Austin Music Awards for SXSW. Johnny was in Texas, nearby Austin, filming “What’s Eating Gilbert Grape” and he came into town for the gig. The band included Gibby Haynes of The Butthole Surfers, Johnny Depp, Sal Jenco and I.

NM: You’ve won many awards and have obtained many prestigious recognitions, your career is remarkably full. I’m very impressed by all I’ve read and heard. Therefore I am curious, what aspect of your artistry and your career are the most rewarding and fulfilling?

There was a brief pause before he answered.

BC: Well, my wife and I have written so many songs together. Many of those songs we wrote have later on been covered by artists I respect and admire. Stevie Ray Vaughan covered our song “Crossfire” and Robert Palmer covered “Why Get Up”. To be acknowledged, appreciated and respected by great artists like these whom I esteem, value and respect has been the most rewarding and fulfilling aspect of my career. There was also one night on David Letterman I particularly enjoyed. Johnny Depp and I played “Anything Made Of Paper” together, which is a song my wife and I wrote. It’s about the West Memphis Three case. A case that involved three teenage boys who were accused of murder and placed in jail for life before they even hit adulthood. It’s a powerful story, check it out.

NM: Austin has changed so much in the 20 years I’ve lived here, off and on. Since you’ve been here so much longer than I, and have seen a lot more growth. Do you think you and your wife will stay in Austin with all the vast changes in the city?

BC: That’s a good question. The growth in Austin has been difficult for me over the decades. The venues changed. The music scene changed. The people changed. It used to be a funky, intermingled town that was quiet and serene with a booming music scene. It was cheap and easy to get around. It was so beautiful then. Around the late 80’s, maybe 1988 or 1989, that city died out and something else began to evolve. I’m sure you’ve seen the changes since the 1990’s. Even people who’ve only been here five years can see changes. Now there are 30 story buildings and it’s crowded, expensive and it’s just not the city that I came to know decades ago. I don’t know…I only come in town for shows. I am from Seattle and sometimes I think I would like to keep a place here, and have one there. But I really don’t know.

NM: My last question is a bit random, but is there a reason you’re only wearing two rings on the same fingers of each hand?

BC: (He laughed) Only because I didn’t feel like wearing the others. I own a lot of rings, cuffs and metalwork that I like to wear. It depends on the day or the mood I am in what I will wear. But there is one ring that I almost always wear, aside from my wedding ring. (He says as he extends his right hand). Johnny Depp gave me this ring when the first “Pirates of the Caribbean” was being filmed. It was the first ring made for the movie, and he told me that he wanted a new one made for him with a gold bandana and a pair of eyes made of rubies. So I got this one and I wear it everyday.

Be sure to catch Bill Carter at his upcoming SXSW performance at The Continental Club on South Congress from 11:00 PM to 11:40 PM on March 21, 2015. The official SXSW artist statement for Bill Carter entails the following: “Legendary songwriter and Austin Music Hall of Fame inductee Bill Carter has been a pillar of the Austin music community for over three decades. His songs have been covered by over 200 artists from Waylon Jennings to Robert Palmer. Winner of an Austin Music Award for “Best Song of the Decade” and BMI’s Million-airs Award for Stevie Ray Vaughan’s only #1 hit “Crossfire” Carter and his world class band, The Blame, serve up a wicked stew of slyly crafted Americana. Look for a new album slated for release in 2015.”

For more information regarding Bill Carter, future shows and bookings – please visit his website at www.billcarterandtheblame.com.

Note: This story is originally published on Rank & Revue in July 2015.

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KITTEN: Taste the Sugar in the Dark

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Chloe Chaidez: lead vocalist of the band KITTEN.

Attending Stubb’s to see KITTEN play was one of the highlights of my summer. Wearing a long-sleeve blouse, a black leather mini skirt and stockings that cut off at the ankles – Chloe Chaidez, the lead vocalist, entertained the stage with her two bare feet. Dark locks of hair swayed as her body flowed with the music.  Dancing on stage, on top of the amplifiers, or even on the drumming equipment (which made me nervous) – there was no space her two little feet didn’t cover. It wouldn’t take an expert to see the audience was in complete awe of this 19 year old beauty. Nearly everyone was dancing or smiling and hardly anyone left during the show. Even my friend May and I found ourselves shouting shamelessly in-between sets like groupies we were having such a blast, “We love you Chloe!”

Yes, that’s right; Chaidez is young. But don’t you dare let her age disenchant you. When this girl was 12 and playing bass, she opened with Band of Horses – and at Stubb’s I watched her take greater command of the stage than most grown adults. Chaidez was not only an engaging performer, but she knew what the audience wanted and was unafraid to let us have it full force. She connected with us and made attendees feel even more alive for an hour or two. Despite the fact she was singing her heart out whilst wearing thick clothing and black leather in the summer heat of Tejas – Chloe Chaidez had more energy than any vocalist I’ve seen in a good, long while. There was something raw and powerful about the sounds of their music, too. Best of all, Kitten even took us older folks back to more youthful days and made us all feel younger again when she sung the 80’s classic “Take My Breath Away” by Berlin.

“I tried to kill you in my dreams. Last night but now you’re calling me. A taste of sugar in the dark. Love dies. I’ll call you when the money’s right. I know you remember the deal, the fear, the love and kisses. A taste of sugar in the dark . Those left hand scars. A taste of sugar in the dark.”

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Chloe Chaidez.

There were four male musicians on stage with her, but due to the fact Kitten has dealt with a revolving door of bandmates – I am uncertain who was accompanying the vocalist that evening. Even the press releases do not disclose the band mates. However, the band originated in Los Angeles, California in 2009 and released their first album in 2010. Kitten has also opened for bands like Charlie XCX, Paramore and No Doubt. Earlier in May of this year, Rolling Stone published an article about Kitten to say, “Kitten sounds like Eurythmics’ synth-heavy ‘Sweet Dreams’ turned fever dream, with detours into sugary shoegaze and distorted power balladry”. I’m inclined to agree with this description.

Seeing as I grew up in Austin, Texas and I’ve lived here off and on since the late 1990’s – the Live Music Capital of the World – I’ve watched and heard the music scene morph and blossom. And I’ve seen a lot of shows. Too many to remember. Many of which were shows I saw at Stubb’s. Therefore I admit that at my worst that I can be a bit of a live-music snob – solely because I was blessed to be surrounded by some of the best musical artists from all over the world right here in my hometown. Frankly I was only going to stay for a few songs, take a few photos and then leave. Secretly, I admit that I wasn’t expecting much of a band featuring a 19 year old, playing a show on a Tuesday night in the Red River District. However, the joke was on me because Kitten proved my cynicisms to be wrong. I stayed for the entire show and I’m glad I didn’t miss a beat. From now on when I hear the band name Kitten, I will only think of these three words: Here, kitty kitty.

Dear Chloe Chaidez: Come back to The Lone Star State as soon as you can. Don’t stay away too long. I recall you saying on stage that ATX was your all-time favorite city to visit during a tour. And you’ve officially become one of my favorites in return and I wish you all the best in your career.  An artist as young, robust and talented as you is bound to have haters that will try to stand in your light. Stay beautiful, stay sweet, stay loose — and don’t let the entertainment industry ever taint your voice or steal your inner-fire as you evolve into an even more rockin’, empowered young woman.

For more information regarding the band Kitten please visit www.kittentheband.com.

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Note: This story is originally published on Rank & Revue in August 2014.

The Driskill Hotel hosts holiday traditions in Texas for more than a century

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December flowers at The Driskill Hotel in Austin, Texas. Photography by Nicolette Mallow.

On the first of December at six in the evening, The Driskill Hotel initiated its annual holiday celebrations beginning with the lighting of the tree and a double quartet of singers from Austin Opera. A decorated tree is positioned in the center of the marble floors and columns within the main lobby closest to the grand stairwell. This holiday tree is illuminated and glowing the entire month of December. The tree is so substantial in size that the gold star on top nearly touches the stained glass dome of the ceiling.

Throughout December, for nearly 130 years since it was built in 1886, The Driskill Hotel hosts annual time-honored traditions to celebrate the holiday season. Notably, The Driskill is the oldest operating hotel in Austin, Texas and the architecture is Romanesque in design. When you enter the hotel it’s like going back in time, or finding a magical hiding place in town, because there is something otherworldly about the building’s energy. Yet you know you’re in Texas by all the lone stars, leather, cowhides and southern hospitality. Even horse carriages still wait outside to take guests and locals for a stroll through downtown. An artistic infusion of different periods; there is no other structure in Austin quite like it. Blocks away from the Texas State Capitol, The Driskill is a Historic Landmark, and its European design carries a prominent, unique presence amongst modern-day architecture in the downtown vicinity. This refined hotel is aesthetically beautiful and elegant, inside and out. However, every December, as the holiday season arrives: The Driskill shines brighter than ever with its festive, colorful decorum and sparkling tealights. Even before entering the hotel, dozens of homemade gingerbread men can be seen dangling happily in the windows of 1886 Cafe & Bakery. The gingerbread men are reasonably large, decorated with smiles of white icing, red candied buttons, green checkered stockings, and eyes made of chocolate.

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In addition to the lovely holiday decorum on display the month of December, The Driskill will also feature holiday events on selected days and nights: seasonal music from a live string quartet, Afternoon Tea, an Afternoon with Santa, and Christmas Day in The Driskill Grill. Prices per event do vary. The Driskill Bar upstairs, which was recently named the best cocktail bar by The Austin Chronicle, hosts live music as well. Guests can escape the cold and warm up with snacks and a libation, or an apple cider, within the lounge area while enjoying the lyrics and melodies of various singers and songwriters. Don’t forget to try the mejdool dates wrapped in bacon!

Furthermore, on December 13th at 2:00 PM, Cookies for Caring is another holiday-related charity event at The Driskill. “In collaboration with the Austin American-Statesman’s Season for Caring, The Driskill is hosting a holiday cookie swap. Guests can create their own holiday cookie collection and a portion of the proceeds will be donated to The Austin American-Statesman’s Season for Caring charity drive.” Cookie tins cost $25 per person and will be waiting for guests upon arrival to the event.

Seasonally decorated gourmet cookies can also be purchased at 1886 Cafe & Bakery, a premier restaurant within the hotel named after the year The Driskill came to life. “The Driskill Hotel opened on December 20, 1886, to great fanfare and applause from Austin’s 20,000 residents. Since that time, the ‘grande dame’ of Texas hotels has remained a magnificent gathering place for locals, Texans and others to celebrate the holidays and other special moments of their lives in Colonel Jesse Driskill’s splendid Romanesque masterpiece. We invite you to recapture a nostalgic memory from a holiday season long past and to create new memories for your family and friends during our holiday celebrations.”

The Driskill Hotel holds 189 guest rooms and suites. Guests may also admire The Maximilian Room, the Governor’s Boardroom, the Mezzanine and the Victorian Room. For more information about holiday events, hotel reservations, catering, or The Driskill Bar and Grill: please visit their website at www.driskillhotel.com or call 512-439-1234.

Note: This article was originally published on Examiner.com in December 2015. 

The High Road on Dawson sponsors an event to raise funds for Austin musicians

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The High Road on Dawson will sponsor its first official Health Alliance for Austin Musicians (HAAM) fundraiser this upcoming Tuesday September 1, 2015. Hosting a local event that features a DJ, several bands to play live music, a full bar and limited baskets of snacks; their goal is to raise $2,500. This HAAM-related gathering at The High Road on Dawson welcomes all ages, children and adults, and it begins at 4:30 PM sharp and will last till approximately 10:00 PM.

“HAAM Benefit Day is a nationally recognized city-wide musical celebration that helps keep music in Austin alive and well. HAAM has helped over 4,000 musicians access over 52,000 healthcare appointments valued at over $30 million dollars since 2005. These include routine dental work, doctor visits and prescriptions, psychiatric counseling sessions, eye exams, out-patient procedures, specialist referrals, hearing screenings and more. Join others in attracting the national and local attention as well as giving your customers, clients and employees the satisfaction of knowing you are supporting the amazing musicians of Austin. This amazing day is made possible by the many businesses and volunteers that sign up to support HAAM. “

Happy hour, or in this case Hammy Hour at The High Road on Dawson, lasts from 4:30 to 6:00 PM. DJ Cole will spin records during this time. Afterward, listed in order of appearance is the line-up of bands including the following: Eve Monsees & Mike Buck, Jon Dee Graham & William Harries Graham, Mike Hall & Randy Franklin, Curtis McMurtry & Diana Burgess, Andrew DuPlantis, Bonnie Whitmore, Jaimee Harris, Christiane Swenson, Tech 12.

All guests are required to check-in before entering. There is no cover. Donations are accepted. Anyone 21 and up will be given a wristband in order to frequent the bars. Baskets of food entailing ham and cheese sandwiches, chips and a pickle cost $8 each. Parking is also readily available, but guests are also encouraged to utilize Uber or Lyft.

One of the many amiable traits regarding The High Road on Dawson is that their building is located at 700 Dawson off Barton Springs Road on the top of a hill overlooking a skyline view of downtown Austin. Showcasing many of the scenic beauties within the city of Austin, the views from their building are lovely and distinct. “The High Road on Dawson is a member-based, non-profit charity with over a century of tradition. Our organization encourages and provides opportunities for its members to support their local community with donations of funds, material goods, and volunteer service. The High Road on Dawson is a philanthropic association that cherishes fellowship among its members and promotes personal growth and leadership.”

An official flyer for their HAAM event on Tuesday, September 1, 2015 can also be found on their Facebook page. For more information regarding The High Road on Dawson visit their website. All other inquires regarding the Health Alliance for Austin Musicians, donations or how to get involved, please refer to www.myhaam.org.

 Note: This article was originally published on Examiner.com in August 2015.

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