This little gem might be a bit easily overlooked in Houston’s typical bar scene, but that’s because it’s an entirely different kind of place. McGonigel’s Mucky Ducky is an Irish pub that features a very popular open mic night every Monday at 6:30 p.m. (sign up at 6 p.m.)
You’ll hear plenty of folk, country and acoustic renditions by performers that spent their afternoon in classes at Rice or a long day at the office. Not only does the pub feature an impressive array of live music almost every night, but the Mucky Duck has been listed by Billboard Magazine as one of the 20 best acoustic venues in the country. Each performer gets three songs or 15 minutes on stage. -- houston.cbslocal.com
The Duck stage is open for you to present your original compositions or a favorite song made famous by someone else.
Comedians, poets, jugglers and mimes also welcome.
Don't be shy. Come on out ~ It's your turn to be a Mucky Duck Open Mic Star.
Each performer has 3 songs or 15 minutes for their performance.
No cover charge
with special guest Keeton Coffman
From the icy urban streets of Oslo, and the backwoods country of Toten emerges an honest, straight-shooting band with Americana influences ranging from Johnny Cash to Bob Dylan, but with a cultural awareness and musical voice uniquely their own.
With distinct sharpness the band spins their poetic tales with a deep musical beauty and intimacy, but also shamelessly reveals life's dirty underbelly. They tell you stories about life as it is, it's beauty and ugliness, it's better and it's worse.
Humming People's long awaited and highly anticipated 3rd album "City of Lost Men" was recorded in an old wooden house in Trysil/Norway, alongside the well acclaimed American producer Phil Madeira. Their first single "Silver Spoon" got A-listed on Norway's biggest radio channel and rotated for 13 weeks.
Country legend Emmylou Harris came in and sang on the title track "Lost Men" after hearing the song and expressing her love for it.
You can hear the lively blend of fiddle, flute and percussion from the muddy sidewalk outside the pub. Inside, musicians pack the corner stage.
On the right are the fiddlers, three or four of them. To the left are the bodhran drummers, holding their ancient Irish tom-toms like shields.
An acoustic guitarist strums the rhythm at center stage, with a couple of penny-whistle players blowing in his ears. All the musicians are playing hard to be heard over the boisterous banter of patrons lifting pints of ale and stout malts at tables or at the bar.
A fiddler calls for The Cliffs of Moher, an instrumental known to Celtic musicians around the world. This leads into a medley of traditional jigs and reels that inspires one lass to do a high-hopping ceili dance in a corner of the room. An older man watches, smiles, claps along for a minute and orders another pint.
THE pub could be in Dublin or Belfast, where Irish folk musicians have passed down traditional tunes from generation to generation. Or it could be in New York or Boston, where tight Irish-American communities have kept a bond with old-country culture.
But it's not. It's right here in Houston's Upper Kirby district. The scene is replayed with minor variations every Wednesday night at McGonigel 's Mucky Duck's long-running Irish session. - Rick Mitchell, Houston Chronicle
Amy Speace Album Release Show for 'That Kind of Girl' with Very Special Guest Ryan Culwell.
“Amy Speace channels the classics,” writes Billboard Magazine of “That Kind Of Girl” (Windbone, March 2015), her most personal record yet. Jon Pareles of The New York Times described the record as “grace over drama” and No Depression wrote “The next time someone tells you they don’t make good music anymore, tell them they must not have heard of Amy Speace.
She is a timeless singer/songwriter who has captured this writer’s attention with a record which should be a topic of debate on several year-end award lists.“ Recorded in 3 days with producer Neilson Hubbard and a small ensemble of musicians, the record is spare and direct, honest and focused. Holly George-Warren, celebrated author and music critic, calls it “breathtaking.”
Baltimore–born Folk/Americana songwriter Speace received rave reviews for her 2013 record, “How To Sleep In A Stormy Boat,” a song cycle inspired by Shakespearean characters, from Mojo Magazine to The New York Times to a feature on NPR’s “All Things Considered”. She was discovered by Judy Collins in 2005, releasing her debut in 2006 on Collins’ Wildflower Records, “Songs For Bright Street” to rave reviews. “The Killer In Me” was released in 2009 with NPR comparing her to a young Lucinda Williams. She moved to Nashville from NYC in 2009, releasing “Land Like A Bird” on Thirty Tigers. Her songs have been recorded by Judy Collins, the late Memphis blues artist Sid Selvidge, Red Molly and others. Her song “The Weight of the World”, which Judy Collins has called “one of the best political folk songs I’ve ever heard” was named as the #4 Folk Song of the Decade by NYC’s premiere AAA radio station WFUV. She has toured and shared the stage with Guy Clark, Nanci Griffith, Ian Hunter, Alejandro Escovedo.
Loomis and crew shine on stage proving his music is best experienced in person, where one can see and hear its intended splendor. Described by Blues Blast Magazine as “a non-stop turbo of power, one minute moving from side to side of the stage, and then taking on his horn player in a head-cutting contest on the apron of the stage the next minute.” Loomis’ energetic, get-in-with–the-crowd antics are infectious. The swaying and clapping are just as he envisioned.
Bridging the gap between generations of music-lovers and redefining blues-based American music for a contemporary audience, Loomis created his own path and built a loyal following by blending myriad influences, clever songwriting, and an expressive voice into a sound that defies description.
Feeling his current style, layered onto his bluesy foundation, will attract a new generation of fans, Loomis looks forward to the appeal GIVE IT BACK will have on today’s young listeners.
“Depending on the Distance,” Jimmy LaFave’s first studio album in five years, lives up to the intriguing promise of its title, finding the Oklahoma-Texas troubadour in a contemplative mood whether he is crooning his new original songs, covering an ’80s pop smash or reinterpreting anthems penned by Rock and Roll Hall of Famers Bob Dylan and Bruce Springsteen.
Much like his mentors Bob the Bard and Oklahoma songwriting icon Woody Guthrie, what the red dirt pioneer’s voice lacks in technical prowess it more than makes up for rootsy, relatable authenticity. The Austin, Texas-based singer-songwriter, who spent his teen years in Stillwater and dug his musical roots in the red dirt hotbed, is in such a mellow mood on the follow-up to his 2007 “Cimarron Manifesto” that the passion of the achingly lovely opener indeed seems to come out of the “Clear Blue Sky” and the sharply written socially commentary of “It Just Is Not Right” sneaks up to prick you in the conscience despite the tip-off of the title.
There’s even an understated elegance to his rendition of John Waite’s often-covered 1984 chart-topper “Missing You,” which LaFave strips of the cheesy, dated production and transforms into an emotionally layered guitar-and-piano ballad with the help of Oklahoma guitarist Travis Linville.
Golden-throated folk songstress Eliza Gilkyson prettily backs the fellow Austinite on his take on The Boss’ “Land of Hope and Dreams,” while big-voiced Texas jazz/soul songbird Tameca Jones amps up the gospel groove of LaFave’s uplifting original anthem “Bring Back the Trains.”
LaFave also boosts the volume and energy on “Red Dirt Night,” his boogie-woogie tribute to his Oklahoma upbringing and the small towns that dot the Sooner State.
But the moments of introspection dominate “Depending on the Distance,” with the wistful ode “A Place I Have Left Behind” lingering in the heart and mind long after the final notes have faded as surely as the lost love affair the song memorializes. — BAM
Will Kimbrough is a singer, songwriter, award-winning guitarist, multi-instrumentalist, producer, performer and bandleader with a voracious appetite for every aspect of music.
Born and raised in the deep south of the Alabama Gulf Coast, he ingested eclectic FM radio sounds and the music of nearby New Orleans. In his quest to develop his musical capacities to their fullest, Will Kimbrough has become a modern-day Renaissance Man.
“You don’t fnd stylists today like you did in the Ernest Tubb era. That’s what sets Junior aside from a lot of other artists. He’s got his own style. And his rapport with his fans, he draws a vast audience, from young college kids up to the older, traditional country music fans.” --David McCormick, owner, Ernest Tubb Record Shop, Nashville
“Junior told me once that he was very impressed by Jimi Hendrix, by the way he was very wild, and yet he was very controlled. He knew where everything was going in a solo, and he (Junior), I think tries for the same effect, and I think he hits it virtually every time.” --Mitch Mitchell, drummer, The Jimi Hendrix Experience
Though these two quotes attempt to explain his uniqueness and wide range musical capability, though not vague, the quotes are so dissimilar as to provoke a curious sense of mystery for a reader uninitiated with the phenomenon known as Junior Brown. Of course, to anyone who has seen Junior sing and play live, or heard any of his ten albums, will no doubt understand the connectedness in what the two quotes mean, and more often than not will have some quotable Junior observations to add of their own.
What it all boils down to is this: with his unique voice, more unique songwriting craft, and even more unique double necked “Guit-Steel”, there has absolutely never been anyone like Junior Brown.
“You don’t find stylists today like you did in the Ernest Tubb era. That’s what sets Junior aside from a lot of other artists. He’s got his own style. And his rapport with his fans, he draws a vast audience, from young college kids up to the older, traditional country music fans.” --David McCormick, owner, Ernest Tubb Record Shop, Nashville
Join us in celebrating Johnny Boy's 61st birthday!
An evening of eclectic blues with the 'freight train rhythm' of Milton Hopkins' guitar playing and the vocals and horn playing of Texas Johnny Boy.
Hopkins, nephew of the great Sam "Lightin' Hopkins, left a career with blues legend BB King both as a recording sideman and bandmate on the road to settle down in Houston. (Lucky us, huh?)
Texas Johnny Boy, who is first and foremost a vocalist, also plays harmonica, flute, and saxophone in the classic Texas and Delta blues styles.
But besides all the music credentials, they're pretty good looking, don't you think? - Houston Press
Texan country-rockers Shawn Nelson & The Good Buds are a five-piece unit centred around the talented singer-songwriter-guitarist Nelson, and features Will Webster on electric guitar and vocals, Joe Beckham on bass, Patrick Herzfeld on drums, and Fletcher Murchison on electric mandolin and backing vocals. They are a swaggering, highly rhythmic band with a loose, relaxed feel that is extremely engaging, and immediately captivates.
The style is reminiscent of Ryan Adams in both his Whiskeytown incarnation, and also his work with the Cardinals. Other reference points found include Allman Brothers, Drive-by Truckers, Lynyrd Skynyrd, Doc Walker, and three artists mentioned by Nelson himself in the closing track: Waylon Jennings, Willie Nelson, and Townes Van Zandt. The choppy rhythm of the band gives the music a funky feel to counterpoint the “Good Ol Boys” country sound, and provides a definite cross-over appeal.
With the release of his latest album Burden of Proof, Bob Schneider breaks new ground.
Exploring loss, lust, love, dark desires and skeptical optimism, Schneider has crafted lyrically and musically, his most ambitious and sophisticated album to date.
With Burden of Proof, Bob Schneider delivers a much-heralded explosive addition to his already expansive artistic canon, a work of sophisticated craftsmanship and a wild ride to boot.
More Than Just Horn Rims and Hair.
With music born on the bayous of Houston and injected with influences from the Mississippi Delta to the boroughs of NYC, John Evans has already taken over his hometown with EIGHT STRAIGHT YEARS OF HOUSTON PRESS AWARDS including six time BEST MALE VOCALIST, four time BEST SONGWRITER, two time MUSICIAN OF THE YEAR and BEST ROOTS ROCK.
"I know people think, 'Oh great, another guy with an acoustic guitar,'" says Charlie Mars. "What I really want is to say to them, 'Not so quick. Just one minute. That's not what this is.'"
Charlie Mars has been a journeyman artist with all the ups and downs that entails, from major label releases and high profile gigs opening for the likes of REM, KT Tunstall, Citizen Cope, Steve Earle, among others, from uncertainty to redemption. Now, with the extraordinary new Blackberry Light, the Mississippi-based troubadour builds upon the distinctive musical approach first mined on his 2009 breakthrough Like A Bird, Like A Plane, employing supple grooves and ambient Daniel Lanois-inspired production to enhance the elemental force of his classic songwriting influenced by the likes of Bob Marley, Bill Withers and Dire Straits. From the dreamlike, "Nothing But The Rain," to the shimmering "Picture of an Island," the album sees Mars delving deep within to offer insight and a path to self awareness and ultimately transcendence via a gracefully beatific distillation of folk, rock, and smooth acoustic soul.
"This music takes my mind to a place that allows me to see more clearly where I'm falling short," Mars says. "It takes my mind to a reflective place. It makes me sentimental about my past, my present, my future. It has a way of humanizing me and helping me shed some of the things that get in my way."
Currently residing in Oxford, Mississippi, Mars was at a professional standstill before Like A Bird, Like A Plane. With "no manager, no agent, no band and no money," he doggedly developed a sonic style uniquely his own, a sound informed less by traditional rock than by sinewy and soulful rhythms that seemed to bubble up from within his soul.
"We stumbled upon this percussive, atmospheric tone that, as far as I'm concerned, was different from anything else out there," Mars says. "I thought, 'This is my sound. This is what separates me from the things that I'm hearing elsewhere and I want to explore that further.'"
Mars kickstarted his second act by spending much of the next two years on the road; growing an increasingly fervent following while slowly compiling a sheaf of new songs.
Recording officially got underway in August 2011 at Austin's Texas Treefort Studios, with Mars once again accompanied by many of his cohorts, including producer Billy Harvey (Bob Schneider), keyboardist John Ginty (Santana, Citizen Cope), bassists George Reiff (Ian Moore, Steve Poltz) and Dave Monzie (Fiona Apple), and drummers J.J. Johnson (John Mayer, Tedeschi Trucks Band) and Dony Wynn (Robert Plant, Robert Palmer).
That stripped down framework comprises a stark and cinematic sound inspired in part by producer Daniel Lanois' famed collaborations with Bob Dylan, Ron Sexsmith, and Emmylou Harris. With its sparse instrumentation and focus on transcendent grooves and ambient space, the minimalist approach serves to add maximum intensity to Mars' already powerful songwriting.
"It's not just less is more," Mars says. "Less can be massive. When you find that special place of less, everything just opens up. Sometimes I'll think we're doing so little, we should do more, but then it's like, let's do less and see what happens."
Mars took a similarly modest tack towards the overall recording, looking to capture those perfect uncalculated moments where everything just clicks. "Back of the Room" â€” written initially as part of an Esquire feature asking five songwriters to compose a tune incorporating the words "Somewhere in Mississippiâ€¦" â€” was literally cut live as the band unwound from a long day's work, while the rollicking, funk-fueled "How I Roll" was truly born of spontaneous energy, its unabashedly wicked opening lines put down by Mars while Johnson was out on a brief appointment. Upon his return to the studio two hours later, the band jammed the track and recorded it straightaway.
"That was it," Mars says. "We never did it again."
Penned as a "counterbalance to some of the slower, more moodier songs" on the album, "How I Roll" sees Mars acknowledging his myriad demons, even celebrating their essential place in his complete being.
"Part of what I've gone through is acknowledging that I have a darker self," he says, "and I have to work diligently to try and improve myself so that I can stay out of that. At some point, I came to the realization that that darker self is going to win sometimes and I'm a little tired of apologizing for it. It's part of the whole, I don't have to carve that part of myself out and deny it."
Like any songwriter worth his salt, Mars employs his art as a channel towards personal discovery, candidly exploring all the human limitations â€” from pride and fear to cynicism self-doubt â€” that stand in the way of his attaining true happiness.
"The desire for connection and my terror in the face of it," he says. "That's what the album is about."
To get there, songs like "Great Wall of China" or the title track take lyrical cues from such literary heroes as Haruki Murakami, Cormac McCarthy, Walker Percy, and Denis Johnson, relying on spare language and abstract imagery to create vivid-to the bone revelations about universal life experience.
Upon the sessions' conclusion, Mars began aggressively pursuing one of his dream collaborators, legendary producer/engineer/mixer Tchad Blake. The Grammy Award-winner â€” known for his distinctive work with such artists as Elvis Costello, Richard Thompson, and Sheryl Crow â€” ultimately agreed and helped give Blackberry Light much of its uniquely spacious warmth.
"If there is a leap from the last record to this one, Tchad played a huge part in it, Mars says. He's an artist. He takes something and infuses it with his artistry and it becomes something else. He's the real deal."
The same can be said of Charlie Mars. Imbued with jazzy warmth, simmering dynamics, and uncommon use of space and intensity, Blackberry Light presents a gifted writer and musician at his confident and creative peak, a milestone work in what has proven to be a most extraordinary artistic evolution.
Look up Texas Troubadour according to Webster…n. Shake Russell. Few have made contributions to Texas music comparable to Shake. Winsome melodies, heartfelt lyrics, and a truly Texas spirit are the signature of Shake’s unmatched style. Like no one else, Shake Russell can capture the timeless beauty of Texas with songs more vivid than a summer's dream. Most of us cut our musical teeth in the early 70’s with Shake Russell showing us what Texas music could be. Like a fine wine, Shake has aged, mellowed, and improved over the past three decades culminating in his latest, and arguably greatest, releases in the past few years. Shake's contribution to the body of Texas music is undeniable yet proven incomplete with each new song he offers.
- Barney Goodman, Texas Nights House Concerts
“The Texas Legend himself… Shake Russell -- Austin, Texas any place touched by Shake becomes “hallowed ground”. Shake leaves a little Texas behind him, no matter where he goes. You just have to hear this legend and his legendary songs!” - East Texas House Concerts
Pigeonhole Carrie Rodriguez at your peril. Sure, she has gained notoriety as an Americana singer-songwriter as highlighted by last year’s studio effort, “Give Me All You Got”, which reached no. 1 on the Americana Music Charts. But musical predictability isn’t in her world view or her performing reality.
"I have to say I am very impressed. She's got something unique in her voice that's very subtle and a little smoky and sweet. She's got a refreshingly spunky attitude to go along with it." - Lucinda Williams
"There's a real earthiness in both Carrie's singing and fiddle. She's hot and steamy one minute and pure Nashville the next." - MOJO
"…Rodriguez is a triple-threat artist who sounds more formidable with each successive release." - Gary Graff / Billboard (Critics Pick)
“Critically acclaimed singer-songwriter Kristin Diable has seen it all — from a variety of locations, ranging from her native Louisiana to New York, where she also spent a great deal of time. All those influences come to light in her evocative new album, Create Your Own Mythology.” - NPR
Kristin Diable has been a critical darling for some time now, performing at major festivals like Austin City Limits and earning praise for her brand of bluesy Americana. Now she’s getting ready to release her newest album Create Your Own Mythology, a collection of songs produced by Dave Cobb, who also helmed critically acclaimed albums for Jason Isbell (Southeastern) and Sturgill Simpson (Metamodern Sounds in Country Music). - American Songwriter
He's the one-of-a-kind artist who's been consistently compared to Steve Earle, John Mellancamp, and Johnny Cash at their best. He's a songwriter's songwriter who's ferociously honest tracks have been turned into hits by Montgomery Gentry, Blake Shelton, and most recently Cross Canadian Ragweed.
Now, ten years and five acclaimed albums into one of the most uncompromising careers in American music, he has delivered the album of his career.
QandA (pronounced “Q & A”) QandA’s musical roots in rock, pop, folk, blues, and singer/songwriter traditions have created a unique sound that has given the band growing recognition as a talented group that will continue to make a mark on the American music scene.
With influences as diverse as Neil Young, Wilco, the Grateful Dead, Bob Dylan, Guy Clark, Neil Young, Townes Van Zandt, and many others, the four-piece’s wide-ranging sound and fresh yet accessible shows have been lighting up audiences nationwide.
"One of Virginia’s best exports, Scott Miller’s been very busy since his last Austin visit. He just issued CoDependents with North Carolina fiddler Rayna Gellert, an excellent collection of his Southern tales that, on the whole, are both sharply satirical and vividly told." - Jim Caliguiri, Austin Chronicle
"10 Unforgettable Moments from Cayamo. You realize how spoiled you are on the boat when the songwriters in the round features Patty Griffin, Buddy Miller, Scott Miller, Allison Moorer and Dar Williams. With each performer getting just three songs each, it was Scott Miller who surprisingly made the biggest impact on me and others in the crowd." - Josh Jackson, Paste Magazine
Piper Jones band combines the talents of Mucky Duck favorite piper EJ Jones of Clandestine and recent regular of the Grand Ole Opry, Houston native Frances Cunningham.
As the Piper Jones Band, EJ and Frances will join pipe band drummer Dean Atkinson for a night of brilliant bagpipe tunes and Celtic songs.
Nobody can manage to fit a novel into a five- or six-minute song like McMurtry, and the 12-song Complicated Game offers several: “Carlisle’s Haul,” “South Dakota” and “Long Island Sound.” Though none are as cinematic and poignant as “Ruby And Carlos” from 2008’s Just Us Kids, all three are keeper songs, the type to revisit over the years, different lines jumping up and demanding attention. Whether it’s the fishing story that frames “Carlisle’s Haul,” or the soldier returning home to not much at all in “South Dakota,” or the family man seeking contentment in “Long Island Sound,” McMurtry’s story-songs shine, vibrant and relatable.
The lyrical praise McMurtry has earned over the last 25 years has left his lead guitar playing unheralded, but he mainly bypasses that aspect on Complicated Game. Mainly acoustic, the album incorporates banjo, mandolin, accordion, violin, piano and organ, all deftly in service to a sound that’s subdued, yet lush and full.
Having long earned his place on the short list of best American songwriters, McMurtry is remarkably turning better with age. Complicated Game is brilliant album, dense and thoughtful as McMurtry swirls around inside the heads of another set of fascinating characters.
During a solo journey to the Azores Islands in 2011, Dana Louise, a visual artist, taught herself to play guitar. The daughter of Ezra Idlet of the Grammy-nominated Trout Fishing in America, Dana forged the beginnings of her sound, practicing amidst the archipelago’s lava rocks and dragon trees. Back in the States, she began singing and songwriting professionally, touring regionally and internationally, and is currently recording her debut album with Trout Records.
Joined by the Glorious Birds -- Adams Collins (vibraphone and 5-string banjo), and Ezra Idlet and Keith Grimwood (Trout Fishing in America/guitar, percussion and bass) -- Dana brings her vibrant, melodic vocals and finger picking to a body of complex songs.
Drawing from jazz and bluegrass, carrying a contemporary beat, the sound is roots-rooted flung-into-the-future folk. Dana Louise and the Glorious Birds work to leave their audiences glowing with the magic music can bring: genuine human connection.
Barry Foy's Field Guide to the Irish Music Session defines a session as:
...a gathering of Irish traditional musicians for the purpose of celebrating their common interest in the music by playing it together in a relaxed, informal setting, while in the process generally beefing up the mystical cultural mantra that hums along uninterruptedly beneath all manifestations of Irishness worldwide.
Our Houston Session has been around for over 30 years - the last 20 have been hosted at the Mucky Duck.
Come have dinner and pint and enjoy an Irish evening.
Double CD Release!
Tom Russell songs have been recorded by such icons as Johnny Cash, Dave Van Ronk, Jerry Jeff Walker, Doug Sahm, Joe Ely, Nanci Griffith, Iris Dement, and Ramblin’ Jack Elliott, among others.
No less than Lawrence Ferlinghetti, the legendary poet, has said that he shares “a great affinity with Tom Russell’s songs, for he is writing out of the wounded heart of America.”
Over the weekend, Daniel Markham celebrated the release of his sophomore record, Pretty Bitchin' with a release show at Dan's Silverleaf up in Denton. And yet he barely cracked the Top 10 in our weekly local music power rankings last Thursday.
A week later, we have a different story, as Markham's managed to garner even more buzz for his newly-released disc over these past few days. To wit: TheDallas Observer's Kelly Dearmore wrote that "Markham's deft handling of such universally inspiring themes as heartache, anger and uncertainty make for a new album of infectiously relatable songs that beg to be played on repeat."
Meanwhile, the Star-Telegram's Preston Jones had this to say: " Coming off his nearly perfect 2013 LP, Ruined My Life, Markham serves up Pretty B----in', another deceptively brilliant record."
That kind of praise was enough to earn Markham his first-ever trip to the No. 1 spot in these Buzz Rankings this week. Perhaps worth noting; He'll perform a second, free-to-attend release show for the album this weekend at Deep Ellum's Twilite Lounge. - Cory Graves - Central Track
Griffin House writes a great pop song. That isn't such an unusual talent in Nashville, a town where every other drink is poured by an aspiring songwriter. (And a lot of drinks get poured in Nashville.) There are sardonic artists in Nashville and, alternately, singer/songwriters who treat the stage like a confessional. But House manages to pull off both wry and sincere at once. He then he sets it all to viscid melodies that stick in your ear like a warm hunk of taffy. That is pretty damned unique.
His latest album, Balls, was funded by his fans through Kickstarter. It's a stripped-down sound that showcases his voice, his guitar, and his knack for songcraft. Bostonians will appreciate the references in "Fenway, though there's clearly a lot more going on in the song than a trip to a Red Sox game. "Colleen" is a catchy, up-tempo tribute to a lusty crush he once had on his sister's roommate. And then there's "Woman With the Beautiful Hair," House's ode to the murder ballad.
House is more accustomed to dabbling in the typical singer-songwriter fare -- love, loss, crush, heartache -- but with a detail and specificity that only comes from personal experience. A song with a refrain like "Relationships I don't know why, they never work out they just make you cry / but the guy that says goodbye to you is out of his mind," could only be written by a guy who once spoke those words to a woman -- or at least terribly wanted to. Likewise, "Ah, Me" is an unflinching tale of a broken engagement too candid not to have actually happened. (And yes, it did.) "New Day," one of his best, is a soaring gospel-inflected tribute to finding redemption after loss, could only have come from someone who -- well -- found some redemption after a loss. - Huffington Post
Introducing the Austin Lounge Lizards' still-new album, Home and Deranged!
The Austin Lounge Lizards are arguably the perfect pairing of their hometown’s moniker, “Music Capital of the World,” and its motto: “Keep Austin Weird.”
For 33 years, the Lizards have been spoofing the topics American families try to avoid at the Thanksgiving table; subjects like politics, religion, romance, the music industry, and their crazy/stupid relatives.
With pointed lyrics, precise harmonies and instrumental expertise, the band has become legendary for its satirical skewering through song.
Members of the classic rock band, Spirit, The Staehely Brothers (Al and John) are hosting two very diverse shows on the same night for one ticket price. The first, at 7 PM, a cool collection of Staehely written acoustic numbers- some recorded by Marty Balin, Keith Moon, Bobbie Gentry, John Cippolina, Nick Gravenites, Patti Dahlstrom, Peter Cox of Go West and up and coming blues sensation, Annika Chambers- others recorded by Al and John when they left Austin in '71 to join the legendary West Coast group, Spirit.
Also featured will be songs from the the Staehely Brothers Epic Records release, Al's solo recordings on Polygram and SteadyBoy Records, as well as new songs- some influenced by Al's travels to Brazil. John's guitar work makes clear why Robert Palmer, Bob Dylan, John Hiatt and Jo Jo Gunne chose him as their guitar slinger. Sitting in with the brothers is Evelyn Rubio, the beautiful and uniquely talented singer and sax player from Mexico City. A cameo performance by Al's son, Christian, featuring his compositions, will offer a glimplse of more to come from the Staehely millinneal.
At 8:30 PM Al and John will rock the Duck along with L.A. Drummer Mark Singer and keyboardist Mike Robenbaum with an electric set including songs from their Spirit days like "Nature's Way", "I Got a Line on You" and "Cadillac Cowboys". The Staehely Brothers are not only contemporary artists but they are also a part of America’s musical heritage.
Merging their Texas style with West Coast rock they took their music on the road headlining Carnegie Hall as Spirit members and touring the U.S., Canada, Australia, Europe and Asia. On May 19th, they bring it all back home to Houston.
Advance tickets are highly recommended for this two show, one ticket, one night special event.
Barry Foy's Field Guide to the Irish Music Session defines a session as:
POSSESSED BY PAUL JAMES Best Concerts of 2014. "The one-man folk wonder Possessed by Paul James." - N.Y. Times... [Read more...]
LIVE AT LUCKY BARN: POSSESSED BY PAUL JAMES HOWLS 'OLDER IN MY BODY'
Konrad Wert, better known on stage as Possessed by Paul James, was raised in a small Mennonite community in Florida. There, he picked up strange whispers and Hoodoo hymns of the South, infusing his bare bones music with magic. [Read more...]
PLAYING TO THE RAFTERS, SINGING LIKE A MAN POSSESSED
Konrad Wert is a teacher by day, but when he plays his country-folk songs for fans in his home of Austin, Texas and elsewhere, he goes by the moniker Possessed By Paul James... [Read more...]
PPJ FEATURED ON CMT EDGE
"So while his own gale-force performances sometimes resemble a musical cyclone, the one-man-folk-tornado says “Hurricane” is all about the craziness of bringing a child into the world." - CMT Edge... [Read more...]
As one of Austin’s most beloved world music/indie artists, Chavez is known for her impressive multi-instrumental performances and an inimitable sound inspired by various Latin rhythms and styles.
At this year’s SXSW, she took home three 2013-14 Austin Music Awards, including Best Female Vocals, Best Latin Traditional andBest Latin Rock, while placing in six other categories. This followed a 2012-13 Austin Music Award for Best Latin Traditional artist, two tours in Japan as the Official City of Austin Music Ambassador, and praise from NPR’s All Songs Considered and Alt. Latino as one of eight “New Latin Artists at SXSW,” Chavez has claimed a prominent stake in the Live Music Capital.
She is back from eight months of mission work in El Salvador and established Niña Arriba a college scholarship fund for girls she lived with in a gang-dominated part of San Salvador. Southern Living and Olay named Chavez one of 11 “southern iconic women who have left a beautiful footprint across the South.”
The Austin, Texas scene has survived and thrived for decades, outlasting brief artistic novae from places like Athens, Minneapolis, Raleigh/Durham and Seattle. Another notch on Austins musical barrel can be attributed to decidedly irreverent 7-piece combo the White Ghost Shivers, who harken back to the string band days of the Roaring 20s while adding elements of bawdy cabaret, bluegrass, swing and raunchy blues. Not unlike a volatile batch of bathtub gin, the music is potent, dynamic, a little dangerous and, once youre properly acclimated, easy to swallow. And funny as hell.
The instrumentation on Everyone's Got 'Em is period-correct: saxophone, prominent banjo, upright bass and acoustic guitar; theyre all played with equal parts precision and abandon. The title tracks jittery rag is chock-full of cheeky humor and old-fashioned vibe. My imagination instantly conjured up the singing frog from that old Looney Tunes cartoon, warbling as several monocle-wearing Monopoly bankers jitterbugged along, fingers wagging. That was during the opening song, mind you.
The bands mixture of pathos and humor shines on Mama Said which features brassy female vocals intoning morbid lines like In the end the worms will have their say, all the while inducing Happy Feet. Its certainly the peppiest rumination on death, the devil and retribution Ive heard in awhile.
The Ghost Song creeps along on a brooding clarinet line and trudging rhythm, while the narrators quavering, almost strangling vocal describes the haunting of someone who once performed a terrible deed. The staircase-climbing-and-falling accordion adds to the almost visual depth of the instrumentation, which effectively conveys a gothic oldness and coldness. Its still a hoot, though.
The jarring My Land is hilariously disorienting, as a retro-genteel rag is overrun by the ribald modernity of its lyrics, which (among other things) mention mullets, Camaros and liquor store robberies.
The White Ghost Shivers give the impression of a particularly aggressive 20s-era band transported to the present and realizing the ruckus they make is not only novel but also highly entertaining - so they naturally step up the energy level another notch. Yiddish fiddles rival modern guitar leads, manic banjos pump out feverish rhythms and horns leapfrog and argue throughout the faster numbers, leaving the listener more breathless than the players.
As a songwriter, Sayers manipulates classic tropes, from blues, R&B, and rock into something not quite new, but plenty fresh. Melodies and hooks are his strengths, along with passionate vocals and a plethora of guitar licks.
Showcasing a variety of approaches to the blues, heis consistently engaging and enjoyable. For the most part, Sayers gets in and gets out, gearing his musical statements to three-minute blasts of hook-filled, energetic songs the way they did it back when people bought 45 rpm records.
What the Critics are saying.......
“…a masterful approach to song craft reminiscent of John Hiatt and James Taylor…-NoDepression.com
“…an unforgettable album.” –SomethingElse.com
“Solid songwriting meets with soulful vocal delivery and a brilliant guitar tone…” -Roots Music Report
As a musician and performer, he looks up to the art of pioneers such as Ryan Bingham, Ryan Adams and Townes Van Zant, artists who have lived their songs and have the battle scars to prove it.
A mix of Americana, Texas Country and Indie Rock is the genesis of McCollum’s music career and he channels his creativity into delivering a genuine sound all his own.
Kicking things off with his first single, “Highway” is a driving introduction to this spirited artist who aims to inspire and entertain in a way only one who declares he has no story of his own to tell can, by making one up with words and music.
It is the smile that is the key for reading the musical universe of Beppe Gambetta. An open and disarming smile that is also the contagious and unresistable smile of a person who invites you to a musical journey with light heart and curiosity. The destination, as for any traveller, is not totally defined because it is beautiful, at the very last, to find ourselves where we never would expected to be.
With the horizon's line as a challenge and attraction, Beppe is continually composing his personal mosaic of sounds and flavours. From his unique background as an Italian musician in love with both American roots music as well as the music of his native country, Beppe has travelled the world and even crossed the “Iron Curtain” to dazzle and charm music enthusiasts everywhere. After eleven CDs, DVDs, teaching books and collaborations with many other top-flight musicians, Gambetta is increasingly known as one of the true live master innovators of the acoustic guitar.
While Beppe still lives in his native Genova, he travels to North America at least three times each year. His reputation in the U.S. and Canada is reinforced by his participation inprestigious festivals like the Walnut Valley Festival in Winfield, Kansas, Merlefest in North Carolina, the Four Corners Festival in Colorado and Canadian Folk Festivals in Winnipeg and Edmonton, as well as events like the radio shows “All Things Considered” and “E-Town”. Beppe has performed in prestigious rooms like the Ryman Auditorium in Nashville, Tennessee and the Metropolitan Museum of Art in New York. In his career he has performed with some great heroes of the folk scene like David Grisman, Gene Parsons, Doc Watson, Norman Blake and with the band Men Of Steel: an international guitar summit (Dan Crary, Tony McManus and Don Ross) of different guitar schools with complex musical interactions.
In a world dominated by the trends and logic of the market Gambetta's playing and singing stand out for their intimate emotions, communication, research in tone, sobriety and humour. An inspired music thatt modestly avoids relying solely on his high level of technical excellence, but also reveals the innermost feelings of a brilliant, playful mind that is always exploring and innovating while staying firmly routed in tradition.
With America in his heart and his roots in the sun and the olive trees of the Mediterranean sea, he naturally and seamlessly bridges the shores of the two continents, creating in spite of the interposed ocean a musical "koiné" (fusion) where American root music and Ligurian tradition, emigration songs and folk ballads, steel string guitars and vintage harp guitars not only co-exist but interact, weaving a deep dialog unaware of any rigid classification.
Music on its way, proud of the past but looking to the future, able to talk to us in the present because it is rooted in the history of generations of men and women so different but so equal to us. Strolling music, intolerant of frontiers and passports, exclusions and obsessions. Vital music, passionate but sober. It is waving to us. Let's follow it.
The position that Radney Foster enjoys in the music landscape is nothing short of remarkable. Mainstream country music and independent Americana tend to occupy separate orbits. Yet for the past three decades Foster has thrived in both as a songwriter, recording artist, live performer and producer.
His songs—solo, with Foster and Lloyd and recorded by other artists—have topped the country, Texas and AAA charts alike. At the same time, he’s earned the respect of his peers and a devoted audience as intent on listening as they are eager to dance.
“Take a good, working rock and roll musician, strip him down to the basics, give him an acoustic guitar and say, ‘tell me what life’s taught you so far, seriously’ and in this perfect world you would get John Moreland “ – Rick Reilly – No Depression
“With the soul of a poet and the look of a Sons of Anarchy extra, Tulsa’s John Moreland has been gifted the sort of gravely, booming voice that does Bruce Springsteen proud and a similar understanding of the universal human experience. It’s made for some fantastic records — both as a solo artist and with his dissolved Black Gold Band — and In the Throes is his best yet.” – Joshua Boydston – Oklahoma Gazette
“In the Throes is immersive. The commitment and engagement are so strong, at times it feels like the songs are coming out of you, not John. Moreland puts every drop of blood on the page and every tear in the song. This, my friends, is what songs are for. “ – Farce the Music
“With the ten songs on In The Throes, John Moreland has shown himself to be the closest thing to the ghost of Townes Van Zandt walking the earth. “ -Charles Hale – Nine Bullets
“Not enough can be said about John’s ability to write a memorable line or phrase. Nearly every track on here has an immediately quotable lyric and Moreland delivers every line in a way that assures the listener he has lived them all. “ - Adam Dawson – Broken Jukebox
A world traveling troubadour with a long string of recorded songs and albums, Butch Hancock has been called "one of the finest songwriters of our time" and is acknowledged by his peers and critics alike as one of the premiere singer-songwriters Texas has ever produced.
His tunes evoke mystical visions of wind-swept dry-plains and his lyrics are profoundly imaginative, often displaying for his listeners the miracles that occur in the ordinary through creative irony and metaphors. His lyrical style has often been compared to that of Bob Dylan and Woody Guthrie and his songs have been covered by the likes of Emmylou Harris.
Hancock is also a member of renowned country rock super-group, The Flatlanders, along with his lifelong friends, Joe Ely and Jimmie Dale Gilmore, a band they formed in 1972.
Houston Press - 20 Best Songs of June by William Michael Smith
A former running bud of Townes van Zandt, Olney plays and sings like he'll cut you if you don't get it.
His new album, When the Deal Goes Down, has more edge than a straight razor and cuts just as deep. If you're into music for good news, fairy tales, cotton candy or dance beats, move on. Your life is in danger here.
"A Classic country voice that is so rare these days" - Gary P Nunn
"Tessy Lou is Country as a Biscuit!" - Kevin Fowler
"She sings, how do we say, like clear mountain water and it has an old school feel, but it's modern at the same time. Mighty sweet stuff!" - Jessie Scott
"Not only is Tessy Lou an incredible natural performer, but is truly gifted as a budding songwriter" - Joe Ables
"Tessy Lou has the innate and unique ability to write/perform as one of the guys with the added bonus of a beautiful voice" - Beau Smith
A perfect blend of voices,instruments, and musicianship. Great original songs and wonderful cover tunes. Also, great people. One of my absolute favorite bands in Texas ! - Chris Wall
with special guest - Gary Graves
Bobby Whitlock represents the true southern blues/soul singer.
Born in Memphis he was the first white artist to be signed to the Stax Hip label at the tender age of 16. Taken under the wings of Steve Cropper and Donald (Duck) Dunn at the time.
In 1969 Bobby left Stax and went to California to become the first "friend" in the group Delaney & Bonnie & Friends.
For a short time in Europe, the guitar line up consisted of Eric Clapton, George Harrison and Dave Mason. It was during this time that Bobby became friends with Eric Clapton.
After leaving Delaney & Bonnie, Bobby joined Eric Clapton where they began to write together, becoming a formidable writing team and eventually recording Layla and Other Assorted Love Songs which is now celebrating its 40th year and is considered to be one of the most influential and great records in the history of rock-n-roll..The rest is of course music history.
Meanwhile CoCo had begun her career in London England. She took the road and played across Europe including Germany, Italy and France and back home in England.
After nearly a decade in Europe, CoCo moved back to the United States residing in her home state of California, Los Angeles to be precise. She met and later married Delaney Bramlett.
During those years with Delaney, she produced and co/produced many records including her own solo record “First Fruit” which came out in 2010, with ex Delaney Bramlett featuring many songs written by the two.
Bobby met CoCo Carmel after her marriage ended with Delaney in 2001. They immediately got to work and began writing and singing and recording and performing.
Beginning in the U.S., CoCo and Bobby played in New Jersey, New York, Alabama and Nashville, and a slew of radio stations.
They have also toured various places around the world including Monaco, Geneva Switzerland, France and to Bangalore India to headline a Blues Festival.
All the time CoCo producing record after record including the latest “Carnival”. The live record comes complete with a red hot band, all top musicians hailing from Austin.
In 2011 Bobby’s autobiography “Bobby Whitlock A Rock-n-Roll Autobiography”was released and has been a number one top rated book in rock music on Amazon.
With Bobby’s incredible historical History, it is no wonder the past is constantly calling. In 2013 Light in The Attic re-released the newly mastered solo records of Bobby’s appropriately titled “Where There’s a Will There’s a Way”. It has been receiving great reviews worldwide and is available online and at stores around the world.
For more than three decades, Texas singer-songwriter Shake Russell has been entertaining audiences throughout the region with his unique, Americana style of folk-rock. A prolific songwriter, Shake has written or co-written hundreds of melodies. Through the years, Shake’s songs and albums have frequented the Billboard charts, with many, including “Deep in the West,” “You’ve Got a Lover,” “Put Yourself in My Shoes,” “One More Payment,” and “Our Kind of Love” being recorded by such distinguished artists as Waylon Jennings, Jessi Colter, Ricky Skaggs, Clint Black, and Carolyn Dawn Johnson. Ricky Skagg’s hit recording of “You’ve Got a Lover” has appeared on three of Ricky’s albums.
In 1983 Shake was commissioned by the Texas State University in San Marcos to write a song ,''River of Innocence''. for a documentary filmed and produced by the university. In 1986, Shake was asked by longtime friend Bruce Bryant, creative producer at Houston television station KTRK, to compose a theme song commemorating the Texas sesquicentennial. He obliged and wrote the regional favorite, “Traveling Texas.” Shake is a two-time recipient of the BMI “Million Air” award for Clint Black’s recordings of “Put Yourself in My Shoes” and “One More Payment,” both of which he co-wrote with Clint, and a four-time recipient of the BMI Writer’s Award. The Texas Music Association nominated Shake's song, “Cowboy Coffee,” for the “2007 Texas Music Awards Best New Song.” Shake made history by being named Entertainer of the Year for the third time (2004, 2008, 2011) in the Texas Music Awards!
Weaving sophisticated harmonies through his songs and drawing from various genres, Shake created a style of folk-rock that is uniquely his own. His repertoire consists of a blend of love songs, ballads, and waltzes, skillfully balanced with lively rockabilly tunes and soulful rhythm and blues pieces. His lyrics are imbued with beautiful imagery, catchy phrases, and inventive similes and metaphors. But it is the rich, melodious voice of Shake Russell that breathes life and spirit into the lyrics.
“What’s so bad about happy?” John Fullbright sings on the opening track of his new album, ‘Songs.’ It’s a play on the writer’s curse, the notion that new material can only come through heartbreak or depression, that great art is only born from suffering. “A normal person, if they find themselves in a position of turmoil or grief, they’ll say, ‘I need to get out of this as fast as I can,’” says Fullbright.
“A writer will say, ‘How long can I stay in this until I get something good?’ And that’s a bullshit way to look at life,” he laughs. That plainspoken approach is part of what’s fueled the young Oklahoman’s remarkable rise. It was just two years ago that Fullbright released his debut studio album, ‘From The Ground ’ to a swarm of critical acclaim.
The LA Times called the record “preternaturally self-assured,” while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying “it’s not every day a new artist…earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.”
The Wall Street Journal crowned him as giving one of the year’s 10 best live performances, and the album also earned him the ASCAP Foundation’s Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when ‘From The Ground Up’ was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre’s most iconic figures, including Bonnie Raitt.
As Rolling Stone puts it, “Tuneful, clever and carefully observed, Sara Hickman’s material has all the strengths expected of a contemporary Texas songwriter, plus one more – whimsy.”
Since she started performing at the age of seven, Hickman has been embraced by both followers and critics. The Associated Press proclaims, “Seek out her albums and club shows for her melodic sense, excellent guitar playing, rich voice and mix of sunny optimism with heartache.”
Hickman’s home state of Texas loves her too, naming her the 2010-2011 “Official State Musician of Texas,” joining luminaries such as Willie Nelson and Lyle Lovett.
"Best Americana/Snger-Songwriter Album fo 2013" - Mike Ragogna, Huffington Post
"Colin is clearly his own man in his own world. His easygoing, conversational voice summons the same spirits Woody Guthrie and the young Bob Dylan walked with... I want to hear more." - John Swenson, Twisted South Magazine
“A West Texan Nick Lowe… instant sing-along quality” – Sylvie Simmons, Mojo
Rhett Miller is the front man and main songwriter of the hard-charging rock ‘n’ roll quartet the Old 97’s, as well as an accomplished solo artist.
In addition to his music being featured in countless films and television shows, Rhett has appeared in an episode of the NBC hit series 30 Rock and the Old 97’s were prominently featured in the Vince Vaughn/Jennifer Aniston romantic comedy, The Break Up.
Primarily known for his songwriting and awe-inspiring live performances, Rhett is also a critically-acclaimed author whose work has appeared in several books and such well-known periodicals asRolling Stone, McSweeney’s, and The Atlantic.
This little gem might be a bit easily overlooked in Houston’s typical bar scene, but that’s because it’s an entirely different kind of place. McGonigel’s Mucky Ducky is an Irish pub that features a very popular open mic night every Monday at 7 p.m. (sign up at 6:30 p.m.)
Matt the Electrician crafts sharp narratives with equal measures heart and home. Evidence: It’s a Beacon, It’s a Bell. The longtime Austin resident’s excellent new album showcases a seasoned songwriter in top form. “Look out the window at the road rushing by,” he sings on the stunning “Muddy Waters.” “The shatterproof glass breaking up in your eyes/Your own private movie when things fall apart/Everyone’s trying to break your heart.” Details whittled from real experience frequently fortify his songs.
“Muddy Waters” backs the claim. Matt dreamed up the song as he drove around Austin with his 12-year-old daughter after a big storm. Water under the Lamar Bridge was brown and green, colors he thought an interesting mix. “Yeah, it’s dirty, Dad,” his daughter said, unimpressed. “Muddy Waters” deftly charts our decidedly varying perceptions at different times in our lives and with age comes an acute awareness that everything moves in cycles. Listen closely. Lessons quickly emerge within the song’s ebb and flow.
with special guest Ryan McMullan
Christmas cards from Bonnie Raitt, Lowden guitars made from whiskey barrels, duets with Ed Sheeran, and writing about the love of nothing, Foy Vance has nailed it. Joy Of Nothing is the perfect representation of the road-worn musician’s ever-evolving discovery of artistic expression, telling his tale, in his own time.
Foy Vance was born in the North Ireland town of Bangor, but his passion for traditional music was born in the southern states of America. As a child, Foy relocated with his father, a preacher, to the American Midwest settling in Oklahoma. With his father, Foy travelled the American South, widening his horizons and absorbing the rich musical traditions he was exposed to. Returning to Ireland some years later, Foy began writing his own music, deeply shaped by the sounds of his youth.
Since those days, he has spent a considerable amount of time traveling the World, touring with the likes of Ed Sheeran, Edward Sharpe & the Magnetic Zeros, Michael Kiwanuka and more. Foy also scored Oscar-winning short-film The Shore with David Holmes, and has had his music used in countless films and television shows over the last two-years. A seasoned songwriter, Foy has written for and collaborated with a number of artists, including recent cuts on Ed Sheeran’s newest album, X. Foy’s first ever live album, Live at Bangor Abbey was released in February 2015 on Glassnote Records.
The album features 16 tracks, all recorded at the historic Bangor Abbey in Foy’s hometown. Foy will spend much of 2015 in studio, writing and recoding the followup to his critically acclaimed Glassnote Records debut, Joy of Nothing.!
On her 5th studio album, “Rattle My Cage” finds award winning singer, songwriter and actress Patricia Vonne collaborating with some of the most distinguished Texas musicians that have inspired & informed her music: the late Doyle Bramhall, Alejandro Escovedo, Rosie Flores & Johnny Reno alongside some of her other favorite musical talents.
The 10-song collection is suffused with Vonne's bracing passion, deep heart, and determination that led her to make music her life, start her own label and to become a popular live attraction in Europe where she was the critics pick at the Montreux Jazz Festival. Rattle My Cage also distills the distinctive multicultural rocking borderland roots style she has developed into its most potent and tantalizing brew to date.
Vonne can be seen on the big screen reprising her role as Dallas (aka “Zorro Girl”) in her brother’s (director Robert Rodriguez) recent noir jolter Sin City 2; “Traeme Paz”, appeared on the soundtrack to “Once Upon a Time in Mexico” starring Antonio Banderas & Salma Hayek.
“Patricia Vonne has absorbed just about every indigenous musical style Texas has on offer, and can summon any one in the flick of a castanet or guitar pick,” notes the Houston Press.
Visit Patricia's Website / Video
Rosie Flores whips the best of rock and roll, honky tonk, early rockabilly, blues and jazz with the traditional sounds of her roots in San Antonio, TX. She took flight in Southern California, and has been a major figure in the Los Angeles, Austin, TX and Nashville music scenes – as well as Europe and Japan.
Critical raves from prestigious publications such as the Los Angeles Times and Guitar Player magazine, an LA Weekly Music Award for Best Rockabilly Swing Artist, a 2007 cover story in the Austin Chronicle, and the proclamation of Rosie Flores Day in August 2006 by Austin Mayor Will Wynn was topped off by an induction into the Austin Music Hall of Fame in 2007. She was recently voted as one of the "Top 75 Greatest Female Guitarists of All Time" by Venuszine.
Visit Rosie's Website / Video
Jonathan Jackson + Enation are an anthemic Euro-Rock three piece whose Emmy-Award winning frontman is known from his roles on 'General Hospital', 'Tuck Everlasting', and is currently seen by more than 8.5 million people per week on the hit ABC drama ‘Nashville’.
Jonathan Jackson + Enation is touring in 2015 in support of their new record that is out now ‘Radio Cinematic’.
Special VIP tickets are available that will include a meet and greet with Jonathan, autographed photo, a special acoustic performance of a couple songs. (Click the VIP tickets under the Advance Tickets field)
The Memphis Dawls are a local folk “supergroup” of sorts. The trio of Holly Cole, Krista Wroten and Jana Misener have extensive experience with other projects, like Amy LaVere, in the Memphis area, but they started making music together in high school.
The Dawls opened for Jack White when he stopped by Memphis this March, and he liked them so much he invited them to tour with him on a few other dates afterward. Can’t blame him for being entranced, though; the Dawls’ romantic harmonies and gothic storytelling tend to get under your skin. – Lane Billings – Paste Magazine
Throughout his career, Cory Branan has been too punk for country, too country for punk, too Memphis for Nashville, and probably a little too Cory Branan for anyone’s damn good. He has proven himself as a top-notch songwriter (Chuck Ragan recently called him “the greatest songwriter of our generation”), fierce lyricist (in Lucero’s “Tears Don’t Matter Much” they sing that Cory has, “a way with words that’ll bring you to your knees”), and a hyperdynamic performer with the ability to fingerpick finer than ‘60s Greenwich Village folkies and brutally strum like a proto punk shredder. Across three albums, he’s made collective struggles poetic and breakthroughs into sympathetic acts of populist heroism.
Cory Branan is a natural-born storyteller, his seemingly conversational, painstakingly crafted anecdotes benefitting from a hard-eyed stare at hydra-headed life experiences. Not unlike his musical and literary pedestal sitters, from John Prine and Leonard Cohen to Raymond Carver and Gabriel Garcia Marquez, Cory’s gift for detail and phrase-turning is a thing of wonder.
“A southside collective of songwriters modeled loosely on the template established by Saxon supergroup the Resentments a decade ago, the S.A.Moonlighters take a big step with “Burn & Shine,” their first studio album (following a live disc recorded at the Saxon in 2012).
Former members of Mother Truckers, Stonehoney and Monte Montgomery’s touring band collaborate on an eclectic mix of rock, soul, funk, blues, country and more; whereas the previous live disc was highlighted by covers, they’re now bringing their own material to the fore. Highly Recommended.” - Austin 360
There are songwriters who sing their songs, and then there are songs who sing their writers.
Alejandro Escovedo is one with his muse and his music. Over a lifetime spent traversing the bridge between words and melody, he has ranged over an emotional depth that embraces all forms of genre and presentation, a resolute voice that weathers the emotional terrain of our lives, its celebrations and despairs, landmines and blindsides and upheavals and beckoning distractions, in search for ultimate release and the healing truth of honesty. Sometimes it takes the form of barely contained rage, the rock of punk amid kneeled feedback; sometimes it caresses and soothes, a whispery harmony riding the air of a nightclub room, removed from amplification, within the audience.
His rise has been gradual, a steady incline rather than a quick ascendance, but it has deepened and burnished his music, made it closer to the bone, where it begins to break, deepening his insight and his ability to find that insight in performance. His tireless touring, and dogged determination to place one album after another, has taken him through many musical scenes, remaining the same persona within each, of an artist who doesn’t settle for the easy way out.
Free Sneak Preview of this year's production at the Duck tonight!
Join us for a free preview of "The Pirates of Penzance" at McGonigels Mucky Duck pub. Join the entire cast as we perform the songs from the show with explanation, history, and anecdotes between songs by Alistair Donkin.
Come early, as this one of the biggest nights of the year for the Society and the Duck.
Join us this summer for the 2015 production ofPIRATES OF PENZANCE to be held in July of 2014
Wortham CenterCullen Theater500 Texas St.Houston, TX 77002Map Directions
Tickets on sale via this website beginning June 1, 2015.
Ticketing information for Pirates of Penzance, to be held in July of 2014, will be forthcoming as it becomes available.
Laura and Lydia Rogers' haunting harmonies combine with the spooky nuances of T Bone Burnett's country baroque production for an album fit for a horror film. But that shouldn't scare you away.
Rather, touches like the pained violin strains on the Southern gothic second track, "Iuka," are magnetic. As are fleshed-out covers of the P.J. Harvey marriage kiss-off "The Pocket Knife" and the half-baked Bob Dylan sketch "Dirty Lie."
The record — the Muscle Shoals sister act's follow-up to their self-titled 2010 debut — actually takes its titular line from that Harvey song and a page from the Old Crow Medicine playbook for "Dirty Lie."
But it's when the Rogers sisters infuse Burnett's swampy atmospherics with their ethereal vocals and cherubic charm that the duo asserts a singular identity for their Americana peers to reckon with. Listen to "Rattle My Bones." - Rolling Stone
Read more ......
Guy Forsyth leads an all-star Austin cast including several former Asylum Street Spankers. This incredible string band makes every venue come to life with instrumental prowess and amazing showmanship.
The Hot Nut Riveters are a roaming, rotating, always-changing-yet-oftentimes-very-similar cast of characters from, but not limited to, Austin, TX including:Guy Forsyth, Matt Smith, Mark Rubin, Nevada Newman, Kristopher Wade, Albanie Falletta, Oliver Steck, Pops Bayless and many, many others.
Their debut studio album, Moustashe Girl, features 7 voices, countless instruments, and, at last count, 5 hilarious commercials. Expect classic American tunes as well new original material from some of Austin's finest!
Halloween Jazz, 365 days a year. It's dirty music from a much more innocent time.
The Freedom To Fail marks an exploration into new territory for 20-year Austin veteran Guy Forsyth. Rather than focus his efforts solely on making an album that embodied the energy surrounding he and his band’s dynamic live performances, Forsyth instead opted to create a work that doubled as a message to his young daughter, instilling upon her that she had to grow up feeling the freedom to fail.
“These songs represent an articulation of the changes in my viewpoints and the new legality that I see,” Forsyth explains of the album, his first release for Blue Corn Music. “I became a father in this period of time and started looking around me and trying to figure out what it is that I had to say to my daughter to explain myself. I don’t feel the need to explain myself to everyone, but I sure as hell feel the need to explain myself to my daughter. I want her to have that sort of connection with her origins.”
BJ Barham from American Aquarium has this incredible knack for capturing all of the complex emotions we continually experience throughout our twenties and translates them into simple, hard-hitting, and almost hauntingly-realistic lyrics over some rockin’-ass alt-country music.
BJ Barham is not a musician. He is not a comedian. He is a performer. He owns the stage and the comfortably controls the crowd when he performs.His lyrics are poetic and to the point. He has a bunch of songs about heartbreak but you can tell he’s not bitter. He’s not throwing a pity party. He’s just being honest, literal, and real. by Mitch Foster, June 12, 2014
Country music’s Brandon Rhyder has undoubtedly established himself as a ?xture in the Texas Country/Red Dirt scene. Rhyder has released seven albums and boasts an impressive four #1 singles on the Texas Music Charts, along with a plethora of other milestones.
He continues to push boundaries and deliver fresh material, all while maintaining his signature sound that fans across the country have grown to adore.
In the spirit and tradition of the great duets of country music - George and Tammy, Johnny and June, Loretta & Conway, Porter and Dolly, our favorite country duo, Bruce Robison and Kelly Willis are bringing us an evening of some the best duet songs of country music.
The son of a welder from rural New England, Rod Picott is a masterful songwriter and soulful singer who carries with him as fine a suitcase of songs as you'll find anywhere. Slaid Cleaves, Ray Wylie Hubbard and Fred Eaglesmith have recorded Rod Picott songs.
A former construction worker who hung up his tools when he released his debut CD in 2000, Picott has carved a career for himself with a run of 6 beautifully crafted self released CDs over the last 13 years and a well earned reputation as a engaging, emotion fueled performer.
Ms. Morales demonstrates that physical size is not real size. She shows up with a quiet, a sad, a sensitive, a strong, a big voice and a big message for us all couched in the beauty of philosophical love songs, not only romantic but those other kinds of love we all encounter; soulful poetry about eternal human concerns in our contemporary lives.
The arrangements, the melodies, the excellence of the music, the musicians, and the technicians, her voice with its subtle expressiveness giving deep meaning to her words, I haven’t the gift to write it down to get across the effect the songs have had on my heart.
The way she uses language, repeats certain words or lines, the unexpected next thought, and the variety of song formats all fitting within the general realm of rock, astonishing and moving!
It’s all right if words fail me!
- uncommon music
Fulks is a gifted guitarist, a soulful singer with an expressive honky-tonk tenor, and a natural performer.” —The New York Times
“Robbie Fulks knows better than most that country music needs a touch of Viet Cong attitude: Sometimes you’ve got to burn the village in order to save it.” —Playboy
“The great Robbie Fulks: a Chicago area country/alt-country genius. Why are you still listening to me? You should be going on iTunes right now...buy it, buy everything.” —Tina Fey
"Chicago's most fertile musical mind...so good, he's scary" - Chicago Tribune
"One of the great honky-tonk voices of his generation" - Washington Post
Crawdaddy, Jan 2009
Redd Volkaert is a master of the Telecaster with an impressive resume that includes fronting the superstar hillbilly band the Twangbangers with Bill Kirchen and Dallas Wayne, lead guitar duties for Merle Haggard, ...
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If you really miss Danny Gatton, then discovering a Telecaster slinger like Redd Volkaert is one of the few things that can assuage the abiding grief just a little bit..
Andrew Dansby of the Houston Chronicle calls the MilkDrive repertoire “a virtuosic blast of bluegrassy string-band music.”
With labels that range from jamgrass and nu-folk to redneck gypsy jazz, the band has built a following that’s as funky and friendly as they are.
The group plays festivals from coast to coast every year, with stops in between at Colorado’s beloved RockyGrass Festival and at home at the Austin City Limits Music Festival.
On September 30th, 2014, Houston-based singer-songwriter Brant Croucher released a brand-new full-length album produced by Jack Saunders (White Cat Studios, Houston, TX). The 11-track “Americana” project – an ambitious, eclectic representation of Croucher’s vast musical interests and influences – featuring folk-inspired acoustic songs, swampy groove-driven tunes, toe-tapping country numbers, and a pair of thoughtful, piano-driven ballads.
Croucher was born and raised in Houston, schooled in Denton, TX and has since spent time living in Dallas, Nashville, Austin, and Wimberley. Appropriately, the album’s songs explore themes of moving around -- and moving on -- while finding a way to make life as an aspirant troubadour work.
Redd Volkaert is a master of the Telecaster with an impressive resume that includes fronting the superstar hillbilly band the Twangbangers with Bill Kirchen and Dallas Wayne, lead guitar duties for Merle Haggard, ... Crawdaddy
If you really miss Danny Gatton, then discovering a Telecaster slinger like Redd Volkaert is one of the few things that can assuage the abiding grief just a little bit.. AllMusic
The California Guitar Trio can play the last movement of Beethoven's Ninth Symphony, minus the voices but with pretty much everything else intact, on three guitars and nothing else.
They play progressive rock, surf music, jazz, blues, country, probably the definitive version of "Bohemian Rhapsody," and some traditional North African and Asian sounds for good measure. Like most Californians, the three members of the California Guitar Trio all come from someplace else: Bert Lams is Belgian, Hideyo Moriya is from Japan (where the band has a strong following), and Paul Richards is from Salt Lake City.
The CGT is a melding of diverse talents unlike anything you've heard before, and one you can't afford to miss. They recently celebrated their 20th anniversary with the release of a fine new album, "Andromeda."
Loomis and crew shine on stage proving his music is best experienced in person, where one can see and hear its intended splendor.
Described by Blues Blast Magazine as “a non-stop turbo of power, one minute moving from side to side of the stage, and then taking on his horn player in a head-cutting contest on the apron of the stage the next minute.” Loomis’ energetic, get-in-with–the-crowd antics are infectious. The swaying and clapping are just as he envisioned.
Famed on both sides of the Atlantic for its "Czechgrass" fusion of acoustic, bluegrass, folk and rock, Druha Trava is the foremost band to emerge from the flourishing Czech bluegrass scene. Its virtuoso musicians can satisfy the most hardcore fans with scorching versions of traditional bluegrass standards. But as the band's name "Second Grass" implies, DT reaches far beyond the classic bluegrass genre for inspiration.
The band uses American roots music as a starting point for a synthesis of jazz, pop, folk and even classical motifs, transforming an iconic American idiom into a richly textured, highly personal statement.
DT was formed in 1991 by the influential singer-songwriter Robert Krestan, multi-instrumentalist Lubos Malina and other veterans of the acoustic music scene that had long thrived in Czechoslovakia. Krestan's original songs -- renowned for their enigmatic, at times provocative, lyrics -- make up most of the band's repertoire, and they and Krestan's raw, gritty vocals set the band apart.
But DT also performs bluegrass standards and covers -- in English and Czech -- of material by songwriters ranging from Mick Jagger to American acoustic veteran Peter Rowan (with whom the group collaborated on a CD, New Freedom Bell, in 1999). The group's 2007 album, Dylanovky, featured Krestan's Czech versions of Bob Dylan songs.
Druha Trava and is members have produced more than a score of CDs and have won numerous Czech music awards. The band enjoys a wide following in the Czech Republic as well as a loyal fan base in North America, where DT tours for at least one month each year.
At home in the worlds of both classical and popular music, Eden MacAdam-Somer is one of the most exciting and versatile young violinists and singers performing today. She has been a featured soloist with symphony and chamber orchestras, jazz and swing bands, bluegrass, DAWG and American folk groups.
Eden is also well-versed in the music of other cultures, including Irish music, Eastern-European music, and European music from the Medieval and Renaissance periods.
She has been an artist at the Aspen and Beijing International Music festivals, soloist at Texas and Wimberly jazz festivals, performer at Texas and St. Louis Renaissance fairs, and has appeared on numerous recordings in folk, rock, jazz, and classical genres.
Sam Baker might be the most captivating songwriter in America. You’ll probably never catch yourself singing one of his songs in the shower, because his melodies generally tend to be as bare-bones servicable as the raspy scratch of his singing; but by God, you listen to what he has to say, hanging on for every line like a baby bird at feeding time. Sometimes his words come out haltingly, one by one; others tumble out of his mouth in spurts of nursery rhyme cadence (“copper penny for your thoughts/copper jacket full of lead/they wanted little Jimmy Cagney dead …”)
By the time he sing-speaks them all, he’s burned a black-and-white image or sometimes even a whole movie in your mind that lingers long after each song ends. Some, like “Juarez” and “Odessa” from 2007’s Pretty World, will haunt you for life. Baker’s fourth album, Say Grace, adds several more masterpieces to that gallery, begining with the title track’s poignant portrait of a woman weighing the ghosts of her past against the lonely onset of advancing age. In “Migrants,” he tells of 14 men who cross the border only to succumb to the elements of the brutal Sonora desert. “Ay mijitos/they looked like dried leaves/scattered in the sun,”
Baker sings with a sadness underscored by Joel Guzman’s keening accordion. “They got 12 lines in a midwestern paper/on the pages with the ads for shoes.” But there’s true grace here, too, from the sweetly touching but unmawkish “Isn’t Love Great” to the surprise sense of humor leavening the blue-collar angst of “Ditch”: “My wife God bless her and for what it’s worth/thinks she and Taylor Swift/were twins at birth/separated at birth/Earth to wife/wife to earth!” — RICHARD SKANSE
Slaid Cleaves lives with his wife of 19 years, Karen Cleaves, in the Hill Country outside Austin, Texas. While Karen books the shows, the flights, the hotels, and the rental cars, designs, orders and sells the CDs and T-shirts, pays the band, updates the web site, answers fan questions, does the taxes and makes dinner, Slaid writes his little songs (and fixes things around the house).
They travel around the world together while Slaid plays for fans far and wide and gets all the glory. If it wasn’t for Karen, Slaid would be carrying all he owned in a shoe box, scrounging around for a happy hour gig.
“I’m glad I found Slaid Cleaves, because my life would have been poorer without him. You’ll feel the same, I think, when you listen to this beautifully crafted album. Listen, go to one of Slaid’s shows, take a friend, and pass on the news: Not all the good guys wear hats.” —Stephen King
“A sharply observant songwriter with a deep appreciation for the ageless fundamentals of folk, country, and rock … one of the country’s most compelling roots artists.” —Peter Margasak, Chicago Reader
Greg Trooper is a singer/songwriter who has released 12 albums since 1986. Raised in the shore town of Little Silver, NJ he became enthralled by the greater New York area’s rich music scene. He discovered a sort of holy musical trinity in the work of Otis Redding, Bob Dylan, and Hank Williams, with their guiding lights of passion, literary dexterity and plainspoken honesty. It’s one reason Trooper’s music feels equally informed by Memphis soul, Greenwich Village folk and Nashville twang.
Trooper has made an impact on the music scenes in all the places he’s lived since leaving home after high school: Austin, Texas, Lawrence, Kansas, Nashville and New York. Music critics praise his poetic feel, infectious melodies and insightful lyrics. Americana star Buddy Miller produced 1998’s ‘Popular Demons’ album, while soul legend Dan Penn steered 2005’s extraordinary ‘Make It Through This World’.
“(Moore is) another in the way too short list of artists that plays it as it lays, no digital gimmicks or sweetening to rob the recording of its soul. After hearing this one you’ll wonder why others try and make something so natural so difficult.” -Village Records
“Moore has created a brand of challenging yet highly melodic new-millennium pop-rock that establishes him as an audacious songwriter and player. He has struck that rare balance between astute complexity and utter pop appeal.” –All Music Guide (4 ½ Stars – AMG Pick)
“Ian Moore only gets better…his arrangements are as artful as they are complex, unified in a lush, organic, pop ballad synthesis.” – Tucson Weekly
“Two of our favorite Texas singer/songwriters, Terri Hendrix and Sara Hickman, will be bringing an all-new Holiday show to the Mucky Duck on Thursday Dec. 10th!
Together on stage singing some Holiday standards as well as originals, these award winning musicians will warm your heart and put you in the Holiday mood.”
MARTIN BURNISTON'S 24th ANNUAL CHRISTMAS SINGALONGMartin sets the season with at holiday sing-a-long and dinner.
Tomato Basil Soup
A choice of
Roast Pork and Dressing
mashed potatoes, English peas, cinnamon apple
One each our signature pies:
Shepherd's, Chicken Pot, Steak & Mushroom
Fish and Chips
with fries and cole slaw
Bread Pudding with Jameson Irish Whiskey Sauce
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