My memories of events from 22 years ago can be fuzzy, but I think my attendance at the South X Southwest music conference in Austin TX began in March 1988 with SXSW #2. I came back for 18 consecutive years until 2007, at which point I took two years off from this annual rite of spring before returning on March 15, 2010. I arrived in Austin shortly after 2:00 p.m. on Wednesday 3/17, picked up my rental car, and drove downtown to the Austin Convention Center to pick up the laminated, holographic, computer-coded badge that would admit me to the official showcases, the panel discussions, and all the rest. After checking into my room at the Embassy Suites hotel on South Congress Avenue, I walked with a couple of friends and fellow attendees over to Threadgill’s restaurant for dinner. Two hours later, Holly George-Warren and I were traveling in a hotel van across the Congress Bridge en route to Wanda Jackson‘s set at Beauty Bar when another passenger announced — after receiving a call, email, or Tweet — that Alex Chilton had died suddenly at age 59, just four days before he was scheduled to perform at SXSW with Big Star. Holly nearly screamed out loud before bursting into tears: She and her husband Robert Warren had been Alex’s friends for at least 25 years, and Holly had spoken with Alex just a few weeks earlier. I didn’t know what to say or how to comfort my friend and colleague on this shocking loss: Nothing like this had ever happened in all my years at SXSW, and it was a strange and painful way to begin this one.
(Alex Chilton and I met only once, under strained circumstances in Memphis in 1979, and my memories of the occasion are not especially warm or pleasant. In no way did this encounter diminish my deep appreciation of Alex’s singular talent and especially the three original studio albums he created with Big Star. He lived according to his own code and if you didn’t dig it, that was entirely your problem.)
Not really knowing what else to do, Holly and I continued on to Beauty Bar (a venue with all the warmth and charm of a large storage shed) where Wanda Jackson gamely gave her all while backed by the worst band I’d ever heard her play with. At first I attributed their fumblings to a lack of rehearsal, but as the hour wore on I began to think this was about the best these guys could do — a few days’ rehearsal would have made little dent in their innate lack of feeling for the songs, arrangements, etc. Holly, at least, seemed temporarily lifted just to be in the warm glow of Wanda’s presence, and at one point remarked to me that she held out the faint hope that Alex Chilton had faked his own death “just to get out of playing SXSW with Big Star!”
VINTAGE WANDA JACKSON – “SPARKLIN’ BROWN EYES” (“JUBILEE USA,” 1959?)
When the set ended, Wanda and her husband/manager Wendell retreated backstage — “backstage,” in this case, being a cramped, darkened hallway, piled up with other bands’ equipment and without even a chair for the 73-year-old singer to sit down on. This, I guess, was the best that the staff of SXSW and/or the proprietors of Beauty Bar could do for a Rock & Roll Hall of Fame inductee whose recording career began in 1954. For shame!
I’m not sure what made me so determined to see The Jim Jones Revue from England: I didn’t own their first album, didn’t know that front man Jim Jones had been in the overlooked Thee Hypnotics (1988-1995), and wasn’t aware that the current band had been in the studio recently with an old NYC acquaintance of mine, Jim Sclavunos of Nick Cave’s Bad Seeds. At midnight, a decent-sized crowd gathered on the patio of a bar called Belmont and waited patiently while drums were set up, sound levels checked, etc.
Guess what? These guys killed. The Jim Jones Revue lift all their song structures straight from Fifties R&B, bolt on some witty and/or bitter lyrics, then drive the whole thing through a howling wind tunnel of overdriven guitars, pounding Jerry Lee/Jim Dickinson piano, and an unstoppable rhythm section. It’s kinda like Richard Hell & the Voidoids playing the music of Fats Domino, and it had me rockin’. (Come to think of it, the Voidoids did play Fats Domino a few times — a live cover of “I Lived My Life” — and while Jim Jones and Rupert Orton may not be the sophisticated jazz-influenced guitarists that Robert Quine and Ivan Julian were, they’ve still got that go-for-the-throat intensity.)
THE JIM JONES REVUE – “ROCK ‘N’ ROLL PSYCHOSIS”
It was after 1:0o a.m. and tomorrow would be another day at South X Southwest. This one, for me, was now over.
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