Brendan Benson's 'You Were Right' proves he's 'getting better all the time'

Some of you may remember how heartily I expounded on Brendan Benson’s last album release for ‘What Kind of World’. (For those that don’t, my review can be found here) It debuted on April 23, 2012, the same day as Jack White’s ‘Blunderbuss’. What a face off! Who would win? Well, obviously Jack did. In album sales, at least. A long-time Raconteurs FAN-atic, I’ll admit I was a bit late getting on the Brendan boat. But since finding him and discovering his treasure trove of tunes, I have to say, I’ve been continually amazed at the ways in which Mr. White’s fellow Raconteur is so constantly overlooked as a musician and song-writer. With the release of ‘You Were Right’, perhaps some of that tide is starting to turn.

Already garnering critical acclaim, I was super-excited to pick up my own copy on Black Friday RSD 2013- a full two weeks ahead of the official cd and digital release date of December 10th. Produced by his own Readymade label and distributed by Thirty Tigers, the LP is a 180-gram standard black vinyl gatefold. It includes an 8-page insert with photos and a sentence or two from Brendan about the inspiration behind each song. The Black Friday RSD version also includes a limited poster.

Instantly a favorite here in my house, this LP is a bit less ‘Power Pop’ than his previous works. A few tracks from his previous solo release 'My Old Familiar Friend' have made reappearances on this album but overall I would say 'You Were Right' illustrates a perhaps more somber Benson. I’ve tried to capture my initial thoughts for some of you that may be ‘On the Fence’ about purchasing it...

It’s Your Choice- a powerful, almost Irish-sounding intro (which I later learned via the book included with the LP may have been inspired by the countryside he was traveling through at the time of writing it) traditional Brendan style- catchy melody, smart lyrics- a well-rounded choice for opening out the album

Rejuvenate Me- uptempo guitar intro- lyrical assistance from fellow Readymade artist, Young Hines. Super catchy, Raconteurs fans will appreciate this one for sure

As of Tonight- love the bass-y intro. classic Benson production and styling. A true choral earworm, you will find yourself with this refraining in your head

Diamond- the second single from this album, which was actually released in April for RSD 2013, a unique way of promoting an album prior to its release which has since been replicated by the Dead Weather for their upcoming album expected in 2105. LOVE the guitar intro on this. Super catchy. and do I detect a hint of 'screwdriver' action?

Long Term Goal- at first listen seems to be written to a young artist trying to make it in the music industry. Via the LP booklet, apparently it’s a song Brendan wrote about himself in his own early days in the business. A heartfelt tune to be sure

I Don’t Want to See You Anymore- LOVE LOVE LOVE this song, all the way around. Hammond organ! A welcome Greenhornes-y intro, total r&b feel, soulful lyrics Brendan totally belts out- co-written with the lovely Ashley Monroe- absolutely my favorite on this LP

I'll Never Tell- some of that ‘Pretty Babies’ feel followed by Jamaican flavor. Why does Cory Chisel come to mind? But then it totally breaks into a riff-filled rockin’ tune… and then back to the islands… holy moly this song is awesome! That must be the amazing Brad Pemberton on drums… Such a twisted love song- nice work

Swallow You Whole- wow. So many thoughts on this particular song. So Beatles. Written after a long Raconteurs session. In Jack White’s house. I’ll leave it at that

She’s Trying to Poison Me- Brendan tends to have one or two songs per album relating a dysfunctional woman story, this that song

Purely Automatic- so Beatles! If you enjoyed the first dysfunctional woman song on the album, here’s the other twisted tune

New World of Wisdom- yes! More Hammond! Sooooooo beautifully written, it was interesting to learn the manner in which it came about (for that story, you’ll have to buy your own copy of the album and read the literature provided). Classic Benson lyrical stylings, a relatable accounting of how friendships can fall apart. I love the circus-y organ vibe, right up my alley

Oh My Love- a somewhat minstrel feel, so McCartney- if you don’t love this song something is wrong with you

Three bonus tracks come with the full Digital Download, also included with the vinyl purchase. On The Fritz, Swimming (the first single of the album released in January 2013 but doesn’t actually appear on the vinyl edition) and Red White & Blues (a single that debuted for the 4th of July).
***

'Writing Down Things That I Don't Understand'

A few months ago my husband and I got into a debate about sound. It started, as many a musical debate has in our household, over something Jack White said. I took it to facebook. Friends weighed in, points were hashed out... no true conclusions were reached. I moved on. He did not. What follows is his guest writer post. The ideas expressed are not necessarily shared by me, but are backed by science. And, really, who can argue with science?

A Factual Analysis of Analog vs. Digital… From a Digital-Lover’s Perspective

by ‘Miles Federman’

It was Jack White saying something on the cable TV show ‘For What It’s Worth’ like, "Digital music is only about 20% of the actual sound that you would hear from vinyl.... I don't think they (people) notice it as much with music, how garbled it can sound," that set me off on my quest for real answers.

Prior to that, Jack and his fellow vinyl worshipers had said things like, “Digital doesn’t really sound any better than vinyl,” and, “We just love the whole tangible experience of taking the record out of its jacket and sleeve, placing it on the turntable and setting the needle down manually.”

The earlier claims, from about five years ago, had a certain quaint charm that beckoned us all to step away from the rat race for a few hours and just listen to some old records. Hell, even I jumped onboard to a degree. But the more recent statements from that crowd have sounded almost hateful toward a format that has brought unprecedented portability and convenience to music lovers everywhere. And the claims made by hipster digital-haters can be expected to escalate as long as they continue to get props for it from all the other bearded steam punkers at the corner coffee house.    

I’m 40 years old, so I grew up listening to my favorite music on vinyl records and cassette tapes. It wasn’t until my junior year of high school that I finally broke down and bought a CD player—five or six years after everyone else had. I was reluctant to replace a lifetime of favorite albums on some johnny-come-lately format that would be here today and gone tomorrow. However, after visiting a friend of my parents at the age of 16 who worked as an executive at Columbia Records, I came away with a new view of digital. He had a top-of-line Sony system (inventors of digital sound technology) and the right pair of noise cancelling headphones. Going through his CD catalog was like visiting the library of Congress, and I was able to listen to any of them for as long as I wanted. Needless to say, I returned home with a new respect for CD audio. The clarity, fidelity (similarity to master recording) and lack of surface noise changed my view of the whole situation. Needless to say, I’ve spent the last two and a half decades hunting down all of my favorite obscure shit on digital. I’ve even taken analog tapes of my old college band and transferred them to digital—all the while believing that I’m giving the recordings a second chance at another life. I can’t just sit still and let all of these Mumford wannabees drag us back to the days of crackling vinyl and hissing tapes without at least doing some research to either support or undermine my opinions!?!    

So, I did a lot of internet research. No, I didn’t cite references here, but rest assured every number and fact has been cross-checked with more than two sources. Yes, this info was ALL ripped off from other people who are probably the types of geeks who knew all of this shit before they were twelve. If you find info in here that looks like it was lifted from somewhere else…it definitely was.

It’s also important to know that I wouldn’t have dug into this if I weren’t first and foremost a music lover. I went into this thinking, “If vinyl really is better than digital, I owe it to myself and my favorite artists to find out.” It does get a little sciencey in places, but anything less in-depth would have been a waste of time. I did try to keep it understandable.

So, here goes. A couple of definitions:

Analog audio: an electrical signal that directly represents sound.

Digital audio: An indirect representation of sound by numbers.

Pulse Code Modulation (PCM) is the method used to digitally represent analog signals. In a PCM stream, a series of digital snapshots are taken of the analog sound wave at equally spaced intervals, and each “snapshot” is quantized to the nearest value within a digital framework. Since all speakers must be powered by an analog signal, a digital-to-analog converter (DAC) is employed upon playback. Two of the most important factors in determining the quality and resolution of digital sound are the sample rate and bit depth. 

Sample rate: (sometimes called the sampling frequency) is the number of times an analog audio source is measured—or sampled—per second by a digital recording device. Higher sample rates result in higher sound quality because the analog waveform is more closely represented by the individual samples. Common sample rates are;

44,100 samples per second (also known as 44.1 kHz audio) is commonly used for CDs and Mp3s. This sample rate was set by Sony in the early 1980s after in-house research found that digital audio sampled from analog at or above 40,000 shots per second is perceived by most human ears as perfect sound. 44.1 kHz sample rate allows for approx. 80 minutes of two-channel stereo music on one disc.

48,000 samples per second (aka 48 kHz) is used in almost all digital video formats as well as many professional applications, and was originally adopted as the professional alternative to the 44.1 kHz sample rate which was intended more for consumer applications. 

96,000 samples per second (aka 96 kHz) is a multiple of 48 kHz and is the sample rate used for DVD audio. It’s also becoming the professional standard for audio post-production and music recording. If a home entertainment system is not equipped to handle 96 kHz audio, DVD players can convert the output to 48 kHz. 

192,000 samples per second (aka 192 kHz) is also a multiple of 48 and 96 kHz. It is a very high-res sample rate used mostly for professional music recording and mastering. Blu-ray audio as advocated by Neil Young uses this sample rate. It is four times higher than the industry standard for professional video editing equipment. Additional research by Sony has indicated that sample rates above 192 kHz are impractical and tend to generate mysterious errors not seen in lower sample rates. 

When music produced at higher sample rates is transferred to a CD with 44.1 kHz audio, the process is called down-sampling. Recording industry professionals agree that CDs sound better when the original recording and post-production work are done at higher sample rates.   

Bit Depth: describes the number of bits of information recorded for each sample. Bit depth directly corresponds to the resolution, volume and dynamic range of each sample in a digital audio file. Because digital audio samples use binary numbers (ones and zeros) to represent this dynamic range (the gap between the quietest sound and the loudest), higher bit depth means your audio sample is more accurately represented. 16-bit CD audio can represent 65,536 dynamic possibilities per sample while 24-bit digital samples can represent approx. 16,777,216. These different dynamic levels can be thought of as rungs on a ladder. With 24-bit sound, there are more rungs than with 16-bit and the rungs are spaced closer together. When a digital recording device measures the strength of a sample to fall in between two rungs, it simply rounds to the nearest one. 16-bit digital audio takes up less disc space and requires less computing power to process while still containing enough subtlety and nuance to accommodate commercial music applications. 24-bit digital audio is necessary in cinematic applications where a movie character might whisper a line in close proximity to a loud explosion going off. Normal DVD movies operate at 24-bit / 96 kHz audio.   

MP3s (short for MPEG Audio Layer-3) are compressed digital files that have no fixed bit depth. Their bit depth can vary depending on the particular frame of compressed data. The decoding device (or MP3 player) determines the bit depth of each PCM stream. MP3 uses a loss-inducing compression algorithm to greatly reduce the amount of data required to represent the audio recording…while still providing a faithful reproduction of the original uncompressed audio. An MP3 file is typically about 1/11th the size of the same CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bit rates* with higher or lower quality resulting. The compression technology works by reducing accuracy of certain parts of sound that are considered to be beyond the auditory capabilities of most people. This method is commonly referred to as perceptual coding. It uses modeling to discard or reduce background noise and frequencies that are less audible or inaudible to human hearing. The MP3 software then records the remaining information in an efficient manner. Initially released in 1995 as a way to download music files via dial-up internet, MP3 has become the standard for portable digital audio by combining small file size with good sound quality.

*Bit rate (or bitrate): refers to the number of bits—or the amount of data—that are processed over a certain amount of time. In audio, this usually means kilobits per second. For example, the music you buy on iTunes is 256 kilobits per second, meaning there are 256 kilobits of data stored in every second of a song.

The higher the bitrate of a track, the more space it will take up on your computer. Generally, an audio CD will actually take up quite a lot of space, so compressing files to save room on a hard drive has become common.

Studio Master Tape: Many vinyl records and CDs have been created from quarter-inch reel-to-reel magnetic tapes which were originally recorded at 15 inches per second. When a high quality analog tape is recording at that speed, it offers approximately 80,000,000 individual particles per second that can be magnetically stacked and aligned to store information. This extremely high resolution outperforms all other formats when it comes to its nearly unlimited sample rate and bit depth. Unfortunately, the unused particles still make noise upon playback and this unnecessary sound is often referred to as analog hiss. Digital filters are employed to minimize the noise during digital re-mastering for CDs, DVD and Blu-Ray audio. 

Phonograph record technology was invented in 1877 by Thomas Edison and originally used cylinders made of metal or wax. Emile Berliner, an American inventor, demonstrated his Gramophone machine in 1888.  This was the first machine to make recordings on a flat, not cylindrical, disc. Phonograph record purists point out that a record album should theoretically contain a perfectly uninterrupted reflection of the original sound wave because sample rate is not a factor in the vibrating stylus technology that writes the groove. Science, however, tells us that vinyl records must have a sample rate. Only instead of being based on snapshots per second, it’s based on the amount of vinyl passing under the needle per second as well as other format constraints stemming from how deep and/or wide a record groove can be. Unlike the constant sample rates employed in digital recordings, sample rates for vinyl records start out high but are already diminishing rapidly from the moment the needle touches down. 

On a typical 12″ vinyl record, the ‘start’ groove, on the outside of the record measures 5.75″ from the center. The ‘end’ groove measures at around 2.25″ from center. Spinning at 33 revolutions per minute, the needle is traveling at 19.8 inches per second at the outside of the record, then gradually slows to a meager 7.7 inches per second. That’s less than half the beginning sample rate. Even at 45 rpm, the starting speed is the best resolution available at a speedy 27.09 inches per second, slowing to 10.59 inches per second in the center. Note that a 45rpm record actually produces a higher-fidelity signal compared to a 33rpm, since it’s moving 136% faster at the outermost point. This also demonstrates the wider audio response available to vinyl spinning at 45rpm. The result is much more bass. If we give vinyl records extra credit for their true analog properties and say for sake of argument that their beginning sample rate is a full one-third higher than CDs, a few minutes into a 12” LP side, the sample rate would have dropped below CD quality in every case.  

Vinyl has other limitations inherent to the format. Surface noise results from the phonograph needle being in contact with the record itself. Even brand new dust-free vinyl produces some unwanted sounds. 

The needle is also shaving off microscopic amounts of vinyl—and therefore recorded information—each time a record is played. This diminishes sound quality over time. When CDs were introduced in the early 1980s, two major selling points were the lack of surface noise and disc deterioration—both of which are made possible by a data-collecting lens that never touches the CD itself. Another factor that limits the aural capabilities of vinyl is the fact that the spiral groove on each side of the record cannot touch or get too close to its neighboring groove, otherwise the record will be unplayable. Since the record groove is packed to achieve two-channel stereo (accomplished by a combination of up/down and side-to-side needle movements) and a 24-minute maximum playtime per side, the sample size (groove width) is also lowered, offering less volume for the audio stream.

Since magnetic tape is now made by only a few manufacturers, the cost has become nearly prohibitive for routine use in recording studios. This is why more and more new studio master recordings are 24-bit / 96 kHz digital. Hence, a great many recent vinyl releases contain digital music that has been converted to analog. Most vinyl enthusiasts consider that to be a big no-no. 

When digital audio was first brought to market in the form of retail music CDs thirty years ago, most sound engineers and music industry executives didn’t understand the unique production properties of the new medium. This led to several older albums being rushed to market on CD without having been properly re-mastered for digital. The result was a bunch of disappointing releases of classic albums that had previously sounded good on vinyl. Fans and critics alike called the CDs “tinny” or “weak” and criticized the perceived inconsistencies of the new format. Legendary producer Phil Spector was one of the first to point out that it wasn’t the new digital medium, but an outdated mix on the old master tapes that had failed the CD re-issues. More recent CD releases of these classic albums have benefitted greatly from a re-mixed master which has been EQ’d specifically for 16-bit digital audio.

Now, with all that being said, it all comes down to YOUR ears. I can honestly say that even though the evidence leads me to think that I was right all along about digital being better, I couldn’t live with myself if I didn’t admit that a couple of my favorite guitar solos do sound just a little bit more…well…shredding on vinyl. And yes, that was hard for me to admit.

Lastly, a quick mind-blower for you. Remember that number 65,536 from earlier? It’s the number of dynamic possibilities in 16-bit digital audio. Well, since computer operating systems approach numerous tasks in the same way, 65,536 was also the maximum number of vertical boxes on a Microsoft Excel spreadsheet until 2007. Why? 65,536 is the number of different values representable in a number of 16 binary digits, also known as a short integer in many computer programming systems. That’s why a 16-bit microprocessor chip can directly access 65,536 memory addresses and 16-bit high-color computer graphics support a color palette of exactly 65,536 different colors. Since most people can picture what an Excel spreadsheet looks like with its many boxes of information (including the ones that don’t fit on your computer screen), one can imagine 16-bit digital audio as presenting that much information to each of your two ears at a rate of 44,100 times per second. For example, the spreadsheet below shows only 152 of the 65,000+ available cells.

A Departure... to The 20/20 Experience

As a general rule, I try to not veer too far from the Third Man in my posts here. However, there is a recent album release that I have to talk about because it is just TOO AWESOME to ignore- Justin Timberlake's The 20/20 Experience. Yes, I said Justin Timberlake. Now, before you tune out/ start to hate/ bring up N-Sync, just listen to this sick beat and tell me this shit ain't tight.

I'll admit, I was getting kind of anxious for JT to release a new album. Sure I enjoy his humorous portrayls on SNL, 'In Time' and 'Friends With Benefits' were relatively decent movies. But deep down, I was ready for Justin to bring Sexy Back. Deep down I wondered if he still could.

The 20/20 Experience is a project Timberlake managed to keep under wraps until the release of the first 10 songs in March 2013. The remaining 10 songs will be released in Fall 2013. If you've heard the debut single 'Suit & Tie', rest assured that it is the worst song on the album. CAN I SAY AGAIN HOW TIGHT THIS ALBUM IS?????? There are no throw-aways! Every song has it's own vibe. Every song is so well thought out and produced. In fact, this entire album is so fantastic, you won't care that each song averages a 7-minute play time. In fact, it will only leave you wanting more. If you think I'm crazy to expound on how AWESOME JT's new album is, you better just keep your radio off for the next 18 months.

Upon first listen, you can tell that this Timberlake has evolved from his initial boy band persona- but that that boy is still part of the man. Many of the songs are based on, one can assume, his relationship with lady love Jessica Biehl. The album opens with 'Pusher Love Girl', a snappy blue-toned tune about a girl whose love is so good it's like a drug. What I appreciate most about this song is the extended break down near what you might expect to be the end of the song. The funk has been brought.

Segue to the first single from the album 'Suit & Tie', featuring the incomparable Jay Z. You might remember their performance of this at the 2013 Grammy's. Right before Jack White blew the audience away and then lost in his 3 categories. Yeah, I'm not bitter. Anyhoo, Timberlake goes full bore on this in a  jazzy, almost-Buble-esque singing style, while Jay Z keeps it real by delivering rhymes worthy of his name.

'Suit & Tie' is followed by perhaps my favorite track off the album, 'Don't Hold the Wall'. Although Timbaland's influence on this album is evident throughout, it shines through most on this hot dance number, one that is sure to be a summer hit. This is the first song on the album where you start to pick out some recurrent tribal theme beats.

'Strawberry Bublegum' took me a few listens to truly appreciate. Initially it made me think of an Arby's roast beef sandwich. Getting past the intro it's got a really sweet beat, there are several tempo changes and like many of the songs on the album, it's a super-extended jam. When Timberlake breaks it down at the end, you'll love it 'til it makes you pop.

The A-side of the album wraps up with my top two pick, 'Tunnel Vision'. What can I say about this except that, yet again, it is SUPER TIGHT! Timbaland's influence contributes such an elemental beat, you can't help but groove along. The lyrics help make sense of the albums title 'A crowded room anywhere, a million people around all I see is you and then everything just disappears, disappears, disappears, disappears... Yeah, a million people in a crowded room but my camera lenses only get set to zoom and it all becomes so clear, comes so clear, becomes so clear... I got that tunnel vision for you'. I know you'll like it.

The B-side starts off on a smooth, slower note with 'Spaceship Coupe'. Again, this one took me a few listens to appreciate as I generally have a hard time getting into 'space' themed things. Upon first listen what really struck me is how much the intro reminds me of Usher featuring Ludacris' 'Lovers and Friends'. Overall I got a real Prince vibe from this (space) jam, that was confirmed once the extended guitar solo appears.... So Prince!!!! Timbaland's influence is once again evident with sound bites reminiscent of Aliyah's 'Are You That Somebody'.

'That Girl', the 7th track on The 20/20 Experience, is a jazzy, (simulated) high-hat heavy tune detailing why he's in love with 'that girl'... 'so what you're from the other side of the tracks, so what the world don't think we match, I'll put it down like my loves on wax'. The ladies are gonna go cray cray for this one, it's a real panty-dropper.

'Let The Groove In' is my top 3 pick from this album. Repeating on those tribal beats that appear earlier on the album, it immediately brought to mind being a little kid at the end of the disco era, watching Solid Gold on a Sunday evening... there is such a Donna Summer/ early-era Michael Jackson vibe, I love it! Mama-se-mama-sa-mama-coo-saa indeed! 'right there right there, let the groove get in, there there right there- are you comfortable?'

'Mirrors' appears to be a definite ode to his new wife. A beautiful tune detailing how she's a mirror reflecting what he'd like to see in himself, what he wants to see from now on. 'It's like your my mirror, my mirror staring back at me, I couldn't get any bigger with anyone else beside of me'. Definitely the most 'boy band' track from the album (yes!), it's sure to be a feature of summer radio play. 'Baby, you're the inspiration for this precious song, and I just wanna see your face light up since you put me on. So now I say goodbye to the old me, it's already gone, and I can't wait wait wait wait wait to get you home just to let you know, you are you are, you are the love of my life'.

Timberlake saved the best for last. 'Blue Ocean Floor' is one of the most beautiful songs I've heard in a really long time. Like achingly beautiful. Like I need to go lay on a beach and listen to this while the sun is setting kind of good. Like, I can't even quantify how much I like this song. The haunting repeat of the tape player/projector sound...it's just one of those little weird sounds I would totally appreciate and adds so much in solidifying the dreaminess of this finale number.

So thank you Justin Timberlake for bringing some new grooves into my life! I can not get enough of this amazing LP! Can't wait for the next 10 songs to drop in the fall. Until then, I will 'let the groove get in' and I promise not to 'hold the wall'.

The Epic SXSW Show~ the One & Only, Prince

So let's talk a little more about that Prince show, shall we?
This year for the big-name artists hitting SXSW, badgeholders were entitled to enter a ticket lottery. Ticket lottery winners were notified approximately 2 days prior to the show and the winner generally received 1 non-transferable ticket. Lotteries this year included shows like Nick Cave and the Bad Seeds at Stubbs, the Sound City Players at Stubbs, Depeche Mode at Brazos Hall, the Prince show at La Zona Rosa, and apparently Justin Timberlake's surprise Myspace show that was added at the last minute.  Thursday afternoon my husband received a notification that he had won a ticket to the Depeche Mode show on Friday night.

I'm not a huge Depeche Mode fan, and attending that would have meant missing Brendan's Readymade Showcase, Eric Burdon and Reignwolf (!) so I was cool with it. Imagine my surprise when later that day I opened my email to see 'Winner! Prince!' in a subject line! I stopped short for a second. What are the chances that we would each be picked for a ticket lottery win? Very slim, I'll tell you.
As you can imagine, I was elated with the Prince ticket win. The best words of the email? 'You are guaranteed entry - there is no reason to rush. Doors open at 9:00 PM.' Fan-flipping-tastic. My mind immediately went to 'what should I wear?' Later I realized that it doesn't matter what you are wearing to a Prince show when he changes his outfit four times during the performance. Nothing can really compete with that.
After staying out until the wee hours on Thursday night, Friday morning found me forcing myself from the bed at the ungodly hour of 9am to take the shuttle downtown to pick up my resplendent purple wristband

(upon which I immediately loaded back up on said shuttle, went back to my hotel and proceeded to sleep for another four hours- seriously? pick up's only between 10am-noon?). Saturday saw us attending several shows in the afternoon, including Hacienda and Willy Moon. Made our way over to La Zona Rosa, a small warehouse of a place on more of a private/dead-end intersection at Fourth and Nueces about 8'o'clock to find a line of fellow wristband holders that stretched almost entirely around the block. Shit. I should have got here earlier. Guaranteed entry, though, right? Rumors circulate the club only holds 300 people. Staff assure as we'll get in. Several folks walk the line offering upwards of $500 for a wristband. Sorry folks, a once-in-a-lifetime opportunity is worth more than $500. Inside, I later meet two people who paid $550 for each of their wristbands. Crazy. I'm even more thankful to have won mine.
Two hours later, I finally made my way to the front of the building to read a sign announcing A TRIBE CALLED QUEST! as the opening band. WHAT???? The night becomes more epic. Finally inside, b-line to bathroom and bar. No where to stand. Club holds more people than I thought it would, than I had heard it would (roughly 1200). I should have got there earlier. No one will give on their spot. No way to finagle myself closer to the stage. Find a spot directly behind the massively long soundboard with actually a better view of the entire stage than on either side of it, so I stake my claim and we wait. And wait. I realize my chances for making it to the BP Fallon and the Bandits midnight show is slim to none and text Clint to make sure and represent for us. At 11'o'clock the lights dim and Tribe takes the stage. My impression of the crowd is that half of them were out of their mind (like me) at seeing Tribe on the stage, the other half was anxious, they want Prince, they don't really know this band on stage that harkens back to the emergence of rap. Tribe calls us out on it, makes some references to their long-standing career, maybe they should go- come on, Austin! participate! For the most part, the crowd tries to give it back. But we all know what we're here for. Q-Tip respectfully wipes off the stage for Prince after their sweat-inducing set.
The crowd begins to buzz. An announcement is made regarding No Cell Phones/ No Photography- Violators will be removed. The fervor ensues. And finally The Man takes the stage.

Complete with a shimmering scepter. And a 22-piece band. Half of which was made up by the horn section, the other half consisting of soulful back up singers, a female guitar player who was spot-on for the most memorable of Prince riffs and various other suit-clad members. His second song of the night started off with a bang, literally, as confetti and streamers sprayed into the air accompanied by the intro to '1999'. Oh, it was on now. Backed by one of the most synchronized, magnificent light shows I've ever seen, one song gave way to another and before I knew it, Prince was standing before us all belting out 'Purple Rain', prompting us to sing along with him. Magical. I've watched this guy since I was a bitty girl, I had to pinch myself that this was happening. And then he was gone, along with his band. We chanted, we stomped- PRINCE!!!! One by one, the band returns, Prince emerges and continues on- an event we would see repeated again and again as the show wore on. His set was creative mix featuring a few well-known hits, a few covers (including Michael Jackson's 'Don't Stop til You Get Enough'), but more heavily focused on his perhaps lesser known and funkier material. About the third encore in, it's time for another restroom break- me, not Prince. I snake my way through the enraptured crowd and catch my breath. What a night. I can't believe I'm really there.

Hours later, physically exhausted from standing for so long, Prince is done and so am I. It's time to go home. I forge my way back to the convention center to find a line a mile long waiting for the shuttle. It's late. I snarf my leftover sandwich Clint's been carting around in our pack. For the past seven hours he's preoccupied himself with BP's show, the Smashing Pumpkins and lord knows what else.  SXSW is winding down. As always, we look at each other and say, 'I don't know if I can do this again'. On the shuttle ride to the hotel we discuss booking our room for next year. Yes, we're suckers. How could you not be? It's just too much fun!

SXSW 2013

sick.sick.sick.
crazy fun insane
how else to describe the event that was SXSW 2013. I'm exhausted. exhilarated. I can't get over what an experience the past week has been.
Did I mention I saw Prince????? in a 1200 person venue???? performing a show that was kicked off by Tribe Called Quest (what?!?) and included a 22-piece band, multiple costume changes and a 6-encore set????
Other Highlights of the week:  
Reignwolf! OMFG, if you have not seen this guy, youtube him.  a friend has recommended that I check this guy out for months now, so I finally got my chance and all I can say is- Whoa. Epic. and if the rumors are true, I think I may have gotten impregnated by some of his wolf babies. seriously. look it up.

Pujol! I finally saw them! twice in fact. just as awesome as I had hoped they would be. unfortunately I missed their showcase at Third Man's Rolling Record Store because the majority of Austin pedi-cab drivers I encountered that day were crooks and we could not make it to their area of town on foot in time. also missed them at Freakin' Weekend 4.5 due to the Prince show, but I'm glad I saw the two shows I did. one of my goals for SXSW was to see as much Pujol as possible, I consider it mission (from God?) accomplished.

Brendan Benson's Readymade Showcase including Eric Burdon and Cory Chisel!!!
holy cripes what an epic night! I'll admit I had harbored secret hopes that Patrick Keeler, reportedly in town for SXSW, would sit in on drums for Burdon's 'Black Dog'. however, that 'twas not to be. regardless Burdon and his band pretty much brought down the house with songs like 'Water' and 'House of the Rising Sun'. I was fairly close to the stage for his set and was practically crushed near the end by rude photographers and some pretty die-hard fans. nuts. worst stage rush of SXSW no doubt.

Burdon was followed by the humble and talented Cory Chisel and the Wandering Sons, one of the first bands to be signed with Benson's Readymade Label.





I'd not had the pleasure to see them before and I'm pleased to say that not only is he a great performer, his entire band is phenomenal and he seems a cool, chill guy to boot.
Adriel, his absolutely stunning fellow band mate, has a beautiful voice and plays a mean tambourine. From the sounds of it, they were having a great time in Austin, too.

Chisel was followed by the man himself, Mr. Brendan Benson. accompanied by one of my favorite all-around musicians, Mark Watrous, on keyboard and guitar, the rythmic Brad Pemberton on drums, and the ever-steady Bobby Lord on bass, they delivered a classic Benson show.













 The roughly 40 minute set included achingly beautiful performances of 'Cold Hands, Warm Heart, 'Bad For Me' (which brought several ladies in the audience to tears, I'm not even kidding!) Benson also brought out other songs from his recent album 'What Kind of World' like 'Pretty Baby' where he featured another Readymade artist that had performed earlier in the evening, the Holwin' Brothers Ian Craft, brought specially onto the stage to play the haunting fiddle accompaniment.

We'd also been fortunate to catch Brendan's Thursday afternoon show at the HGTV/Paste Stage on Sixth Showcase. The 30 minute set featured songs like 'Happy Most of the Time', 'Cold Hands, Warm Heart' and 'Good to Me'.














Pokey LaFarge and The South City Three (Five?)! again, another band we were fortunate to catch twice. we'd first seen them open Jack White's Red Rocks show last August. since then they've added a trumpet and clarinet player on a few new numbers, like 'Close the Door' and a welcome addition they are. their 30 minute set also featured traditional numbers such as 'Drinkin' Whiskey Tonight'. always a pleasure, this band is such a treat to see and listen to.

the days passed in a blur.  not only did we get in a visit to Third Man's Rolling Record Store.



I met Rob freakin' Jones at Flatstock 38 for God's sake! 

we saw so many other great artists and interesting interviews while at SXSW-



the super-talented Willy Moon who was playing his 10th set by the time we saw him but you'd never know it by the way he owned The Belmont's stage

Ashley Monroe, playing her first of many SXSW sets at Empire Automotive





BP Fallon and the Bandits! yes, that's right, BP Fallon and the Bandits playing with Scott Asheton of the Stooges and Barrie Cadogan of Primal Scream performing at the Dirty Dog Bar.
 





Turbo Fruits at Hotel Vegas- sadly, that was the only band we had time to see there, they had a fantastic line up all week long




Hacienda at Rusty's- our first time to see them again since they opened for the Greenhornes on their west coast tour in 2010. too many others to name.


Brooke Waggoner promoting her first solo album at Bar 96.




I've got quite a few new videos posted on my youtube channel if you care to check them out.