July 7, 2010
James McMurtry
Keep Austin Young: Celebrating the Life of Danny Roy Young
The Luv Doc RecommendsOctober 14, 2008
Sunday night’s Keep Austin Young concert at the Music Hall might be a little misleading. A quick scan of the lineup reveals that pretty much everyone on the bill qualifies for an AARP discount … or soon will. Surely this irony wasn’t missed by the promoters. More likely they embraced it because the Keep Austin Young concert isn’t a scenester rave or a Methodist youth rally. It’s a celebration of the life of Danny Roy Young, a man who would have appreciated the title’s irony more than most. Young, who died in August at the age of 67, was the owner of the now defunct Texicalli Grill, a restaurant that in its later years occupied a converted Taco Bell on Oltorf next to Curra’s. Unlike its corporately homogenized predecessor, the Texicalli was a uniquely Austin establishment. The walls were cluttered with Young’s collection of music memorabilia, and the tables were usually filled with his colorful collection of friends: musicians, politicians, bubbas, hippies, and slackers. All came to eat good food, drink, and swap stories. Young was as much a raconteur as a restaurateur, and a good part of the charm of the Texicalli was the outgoing, good-natured banter of its owner, the “Mayor of South Austin,” an honorary title that was the result of Young being named Best Mayor for the City of South Austin in the Chronicle’s 1992 “Best of Austin” issue – partly for his political activism opposing expansion of South Lamar (where the original Texicalli was located) and partly because Young was so beloved by his unofficial constituency. As with any true South Austinite, Young was also a musician – a rubboard player for several bands: Ponty Bone, Texana Dames, and perhaps most famously with the Cornell Hurd Band. During their Thursday night residency at Jovita’s, Hurd would often refer to Young as the “Lord of the Board.” In true South Austin style, Young’s rubboard was handmade, played with leather gloves that had mercury dimes glued to the fingertips – exactly the kind of thing you might come up with while stoned at a South Austin back-porch jam session. Although Young retired from the restaurant business a couple of years ago, he continued with his rubboard career as well as his role as a South Austin icon, emblematic of an era when Austin valued creativity and talent more than money and style. The fact that Young’s benefit is at the Austin Music Hall piles on further irony. All the rapacious development – those towering new condos and sleek new businesses were built on the bones of the scene that greedless good timers like Danny Young created. It’s fitting that Young’s family should benefit from them in turn, if only indirectly. If you didn’t know Danny, you still have plenty of reason to pay your respect. He’s part of the reason you and thousands of other people live in Austin. If that’s not reason enough, how about several hours of music from the crème de la crème of Austin’s old guard musicians: the Texana Dames, Ponty Bone, Marcia Ball, Ray Benson, the Cornell Hurd Band featuring Teisco del Rey, Floyd Domino, Blackie White, the Antone’s House Band, and perhaps the finest songwriter in the known world, James McMurtry.
James McMurtry
Luv Doc Writings, The Luv Doc RecommendsFRI., NOV. 11, 2005
It says a lot that on a Friday night when you could be out trying to get laid you’re at the Continental Club watching James McMurtry. Sure, you could be dirty dancing at some theme club down on Sixth Street, poppin’ that ass, throwing back Jello shots, getting your mack on…because yeah, you occasionally roll like that, but sometimes you also like to peel back the skin from the onion that is you and reveal a deeper, intellectual layer, that smirking bastard spawn of erudition and irony who appreciates a well turned phrase nearly as much as the lure of tawdry disco sex. In fact, if you could figure out a way to sell the sizzle of that whole “interesting person” steak you’ve been cooking up, you might just find yourself swimming in sex, but be forewarned that most of your thoughtful, bookish types – let’s call them “readers” – generally have to be led by the hand to the dark, dense delta of the promised land. This is not to say that it’s absolutely impossible to find hot sex at a James McMurtry show. Weirder shit has happened, but you may have to massage your definition of “hot” a bit. Probably wouldn’t kill you to do that anyway, would it? Here’s the thing: You may not share bodily fluids with any of the people at the Continental Club Friday, but by the end of the night you will share the common belief that James McMurtry is one of the finest songwriters to ever stumble into this burg. Sure, he’s got pedigree, but he also has the decency to not waste it. If anything, James’ songs pack as much meaning into a few verses as the several hundred page tomes of his father. There is refinement at work here; evolution. Even still, the younger McMurtry won’t be trumping the elder with sales records anytime soon. Dense as they may be, McMurtry’s lyric laden songs still clock in several minutes longer than commercial radio’s attention deficit 3 minute pop song format. They’re packed with carefully observed details of the commonplace ingeniously woven through with larger themes – the kind of stuff that rolls around in your head for years and pays you unexpected visits like acid flashbacks. Can you dance to them? Yeah, maybe. James has a thunderous, ass kicking rhythm section (Ronnie Johnson and Darren Hess, a.k.a. the “Heartless Bastards”) and has some impressive guitar chops his own self, but more than likely you’ll be too frozen in slack-jawed awe to bust a move. That’s all right. You can impress the hotties some other night. Maybe you can live with not getting laid. Maybe sometimes it’s enough just to have your mind blown.