Robert Baird

German Barbie

Late on Saturday, the last night of SXSW, I somehow ended up having a pint with a mixed party of American and British band members, only one of whom I knew previously, when suddenly the subject of the British government’s support of the arts came up. Seems these four young lads, and their frontwoman—one stunning fulfillment of my perky blonde English chick singer fantasy (oh my)—hadn’t used their money to come all the way to Texas. No, the government had picked up the tab. The fact that they were vaguely ashamed—because being on the dole is unhip and kind of the opposite of DIY—told me it was true.

“Children by the million sing for Alex Chilton when he comes 'round
They sing "I'm in love. What's that song?
I'm in love with that song."

(from “Alex Chilton” by The Replacements)

My five month old cell phone fried itself dead. Traffic in downtown Austin crawled inch by inch. A friend, who called himself a “capitalist,” called long distance to tell me Obama’s health plan was going to bankrupt the country. But all of that paled in comparison to the strange news that on the first night of South By Southwest 2010, the great Alex Chilton had died just before leaving New Orleans to come to Austin to play a Big Star reunion. Or as the more cynical among us had it, <I>another</I> Big Star reunion.

The relationship between the internet and music continues to evolve in new and bizarre ways. The latest is Guvera, a site that offers free music downloads, that the principals say uses the sponsorship model in new and they hope successful ways and keeps everyone&#151;from artist to label to consume&#151;happy. When you register for the site, they ask you a battery of questions about your likes and dislikes and then you’re free to search for a song or an artist. The site will then direct you to a channel or channels, sponsored by an advertiser, which has what you’re looking for. Using the information from those initial customers’ surveys and then your subsequent download history, the site’s algorhythms find the target audience for certain advertisers and grab their eyeballs in a better way than pop up or strip ads. They also tell the advertisers what music the customers they want to reach listen to. The advertiser pays the royalties on the music to whoever holds the copyright. In other words, either the record label or the artist gets paid. It ain’t stealing.

<B>Pat Metheny <I>Orchestrion</I></B><BR>
Pat Metheny, guitars, orchestrion programming.<BR>
Nonesuch 516668-2/-1 (CD/LP). 2010. Pat Metheny, prod.; eng. AAD? TT: 52:06<BR>
Performance ****<BR>
Sonics ****

Call it “Hollywood Alcoholism,” meaning it’s not Requiem for a Dream, that chilling and incredibly visceral film depiction of addiction, but the more common cut and dried variety&#151he came, he drank, he fucked up, he had an epiphany and of course, he cleaned up after one neat and tidy trip to the Zen rehab clinic. Having seen Townes Van Zandt and more than a few other musical substance abusers when they were riding high (which is really riding low, if you know what I mean), things just ain’t this a way. Hollywood’s way is to show addiction without any of the struggle. Oh sure, he threw up, sort of, once or twice but hell, I remember seeing Townes fall off a stage that was four inches high, and then he couldn’t get up. When I pitched in to help, the man clearly had not showered in quite some time. He’d been bingeing and playing one nighters, which is where Crazy Heart starts out.

<B>CARLA BLEY: <I>Carla's Christmas Carols</I></B><BR>
Carla Bley, piano, celeste; Steve Swallow, bass, chimes; Partyka Brass Quintet<BR>
WATT 35 (CD). 2009. Carla Bley, Steve Swallow, prods.; Gerard de Haro, Nicolas Baillard, engs. DDD? TT: 60:36<BR>
Performance ****<BR>
Sonics ****&#189;