Though he’d likely prefer a live afternoon session with his Family Band, Willie Nelson, to his credit, occasionally loosens his laissez-faire hegemony enough to let a producer take charge in the studio. The results, a far cry from his more casual recordings, are sometimes real successes (1993’s Across the Borderline, produced by Don Was, was a standout). Moment of Forever (Lost Highway), like the recent (and reportedly tense) Ryan Adams–produced sessions, finds a recording artist behind the board, but this time it’s multiplatinum hit maker Kenny Chesney (co-producing with Nashville veteran Buddy Cannon). Chesney puts up muscular backing tracks and keeps the tempos moving, breathing life into the set. It’s quite a glossy environment for Willie—it sounds as if multiple takes and overdubs were used—but the change of scenery is fascinating. New originals “Always Now” and “Over You Again” have the classic Willie touch, as does Kris Kristofferson’s title song, and a Chesney duet enlivens a Guy Clark throwaway. As for the takes on Randy Newman and Bob Dylan . . . well, no producer makes all the right moves. Reviewed by Jeff McCord
Guitar muscle, ferocious drumming, commanding vocals, and hook-laden tunes: no sophomore slump here. Austin’s What Made Milwaukee Famous took its time with the follow-up to its 2004 debut, and it was a wise move. The hardworking foursome has sculpted its sound on the road. What Doesn’t Kill Us (Barsuk) demands your attention from the outset—the first two songs are as strong as any on the album—and while the focus drifts, power punches keep coming to reel you back in. WMMF is not distinctly original, but it plays its crunchy indie rock with the swagger of a band harboring a closetful of gold records. Much credit goes to vocalist Michael Kingcaid: His croon suits both the quiet and loud moments, and while, particularly in falsetto, he betrays his admiration for Radiohead’s Thom Yorke (not that there’s anything wrong with that), a band couldn’t hope for a better singer. He elevates the group’s more pedestrian turns, and at their best—on tracks like “Self-Destruct,” “Prevailing Wind,” and “Resistance St.”—he and his bandmates make absolute magic. Reviewed by Jeff McCord
Thomas Turner stands at a keyboard flanked by a stack of knobs and buttons resembling a cheesy set from TV’s Lost in Space. Donning a high-collared sequined cape, he produces a numbing series of New Wave drum machine beats and electronics. Aaron Behrens, alongside in tight jeans and long pigtails, employs dance moves somewhere between John Travolta’s and Bruce Lee’s and sings in what could best be called a controlled screech. Obviously, you get this or you don’t. Those who do, the ones who catapulted Austin’s Ghostland Observatory to a national stage, know how this pair does more with less for an energetic, blistering live act. But to what end? Their third album, Robotique Majestique (Trashy Moped), picks up right where they left off, opening in almost comically clichéd fashion. All the best dance tunes have a healthy helping of kitsch, but aside from “Heavy Heart” and the title track, what’s here feels awfully thin. While bands from the Pet Shop Boys to LCD Soundsystem have hung their careers on signature music, Ghostland’s material is making them seem a bit vaporous. Reviewed by Jeff McCord
Bun B
Bun B
As part of the rap outfit UGK—his partner was the late Pimp C—the Port Arthur rhyme veteran has earned many a peer admirer in the notoriously prideful hip-hop world. He is working on his second solo album, II Trill, and appears this month at Austin’s South by Southwest Music Conference and Festival.
What’s it like to play SXSW?
The first time I went, it was more about me performing. But every year since then, it’s been more about trying to take in different talent, to see people—like Amy Winehouse last year—explode onto the scene right before your eyes.
How’s the new album coming?
We’re about 85 percent done. With Pimp’s passing [in December], I definitely want to make a dedication record for him. I don’t know specifics yet, but I know the way I want to go with it. I really want it to be big, but I don’t want some hook or chorus to dictate what I need to say.
Most of our readers won’t have a clue what you sound like. How would you describe your music?
It’s not typical rap. It’s Southern by the tone of voice and the sound of the music—a lot of bluesy, jazzy influence. Us being Texas and Louisiana boys, you hear that. Basically, it’s the sound track to your present-day barbecue. Read the full interview.
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