Guy Clark moves to Dualtone Music Group for Workbench Songs, set for release August 29. This is his first album since 2002's The Dark and his 11th studio album overall.

Clark was our featured artist in November 2005:

Guy Clark has made an indelible mark on Texas music. He may not have many #1 hits (just one, "Heartbroke," by Ricky Skaggs in 1982), but over three decades he has crafted an enduring catalog of poetic story-songs and directly influenced a legion of singer/songwriters — like Steve Earle, Rodney Crowell, Lyle Lovett, Robert Earl Keen, and Charlie Robison, to name a few.
 
If you ask Clark about his impact on Texas music, you'll likely get a few sentences of genuinely humble deflection. But if you flip the question and ask about the impact Texas has had on him, then you'll get to know the real Guy Clark story.
 
Read the full profile.

Cindy Walker, who penned such classic country tunes as "Bubbles in My Beer" and "You Don't Know Me," plus pop songs like Roy Orbison's "Dream Baby," died yesterday in Mexia at the age of 87.

Walker was a member of the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame, and had received more than 20 songwriting awards from BMI.

Hayes Carll and his Gulf Coast Orchestra are set to record their first live CD tonight at Antone's, after a couple prior recording date scratches at the Saxon Pub.

Those in attendance can provide their email addresses for the opportunity to purchase the CD for $10 when it is released.

Doors are at 8:00, with Pamela Ryder opening at 9:00. Cover is $10, or $8 if you mention the Dickson Productions ski trip at Steamboat.

As promised, interviews with TexasGigs filmed during SXSW:

• Collin Herring (appx. 25 minutes)
• Deadman (appx. 20 minutes)

Thanks to Cindy Chaffin and especially Alex Kanakis for his A/V wizardy.

While the rain stayed away on Friday, Saturday started out rainy and dreary — perfect for a movie.

Heartworn Highways turned 30 last year, and this month marked the release of the film's first-ever soundtrack. To celebrate these milestones, the Hideout Theatre offered a free screening and post-film Q&A. I have the DVD and have viewed it several times, but it was a real treat to see the film on a large screen. Seymour Washington's tears appear that much larger, as does the vintage 1970s decadence of Guy and Susanna Clark and their circle of singer/songwriter friends.

In the Q&A, editor/co-director Phillip Schopper and producer Graham Leader discussed the film's rocky history. Despite near-unanimous critical acclaim, Heartworn Highways has never found more than a niche audience. While acknowledging that a limited theatrical re-release at art houses like Austin's Alamo Drafthouse may help new fans discover the film, Schopper pointed out the risk inherent in such a project — only 20 people at most attended this free screening, so how could they expect more to actually pay to see the film?

There's no question Heartworn Highways is invaluable at documenting the rise of alternative country in Nashville and Austin. And it could help connect new generations of fans to the work of Guy Clark, Townes Van Zandt, David Allan Coe, and others. But with so many missed opportunities dotting the film's history, it may be doomed to its current status as a cult favorite.

Next was the Palo Duro Records party at the Lucky Lounge, featuring performances by Darryl Lee Rush, the Derailers, Jon Christopher Davis, and Morrison-Williams. Highlights included the Derailers whipping the audience into a frenzy with a closing segue into Ray Charles' anthemic "What'd I Say," and the energetic Davis previewing material from his studio debut due later this spring.

My last stop was Jovita's, where Deadman helped bring my SXSW week to a close. The McGregor-based husband-and-wife team of Steven and Sherilyn Collins opened one of James McMurtry's regular, non-festival shows. I've been waiting to see Deadman for quite some time, and I was not disappointed. Look for more on Deadman soon, as Cindy Chaffin of TexasGigs and I sat down with Steven and Sherilyn for a post-show interview.

SXSW has been a great experience. I've seen 31 bands and 1 film at 11 venues over a span of 4 days, and I've had the chance to spend time with friends while making some new ones along the way. While I made it to a few official showcases, I pretty much relied on daytime parties and informal showcases — a much less stressful way to sample what the festival has to offer. If there's anything I would do differently next year, it's to invest in some high-quality earplugs beforehand. Otherwise, it's been almost perfect.

Collin Herring arose before the crack of dawn yesterday to join a local TV station for a live studio performance, so he and dad/pedal steel player Ben Roi Herring were understandably in need of caffeine when we met for a midday interview outside the Texas Chili Parlor. With a soda for Collin and coffee for Ben Roi, we were set to explore the band's rich sonic landscapes, their new album (due this summer), the Fort Worth music scene, and more. Look for Collin to be the subject of our next featured artist profile.

Next it was time to head across downtown to the Fat Caddy Records Spring Showcase. Sprinkles threatened to put a damper on the free outdoor concerts, but the clouds thankfully dried up midway through Graham Weber's opening set. The cool, breezy, overcast afternoon stood in stark contrast to the warm, humid weather of the festival's first few days.

Free beer and good live music helped draw in curious onlookers, most of whom likely were previously unaware of relative newcomer Fat Caddy or its artists. While each band played a solid set, energetic Dallas roots rockers Macon Greyson — signed to the label just this month — provided the high point for me.

Robyn Ludwick helped close out my SXSW day. She opened the No Depression showcase with a soulful set that included selections from her debut For So Long (review), new self-described "tough chick songs" like the edgy "Desire," and even a rocking cover of the Rolling Stones' "Sway." With No Depression co-founder Peter Blackstock in attendance, Robyn put on an excellent set despite minor technical glitches — and despite some "friends" in the audience talking loudly through each and every song, mistaking their drunken presence for support.

Today's schedule includes a 30th anniversary screening of Heartworn Highways, the Palo Duro Records party, and perhaps a few more stops on this final full day of the festival.

I arrived at the New West Records party unfashionably early. The invitation stated 1 to 6, so I wrongly figured doors would open 30 to 60 minutes early like most other parties. I was wrong, but I wasn't the only one.

Fellow earlybirds from Raleigh and Edmonton helped pass the time with pleasurable conversation (how does SXSW stack up against Americana and folk festivals?), gossip (Hayes Carll signing with Lost Highway?), and demo swaps (I came home with an excellent set from Justin Earle, Steve's son). We also got to chat with Dale Watson, who spent some time circulating with those in line before heading for the airport.

Joe Ely opened the party. Accompanied by accordionist Joel Guzman, Ely dedicated his set to old friend and guitarist Jesse Taylor, who passed away last week. Stephen Bruton was next, followed by the artist most were there to see.

Kris Kristofferson walked on stage and the loud networking din died away immediately, as those who had hung back for Ely and Bruton surged toward the stage to get a better look. Kristofferson surveyed the SRO audience and chuckled "no pressure" when he saw Ely, Marshall Chapman, and other long-time friends among the crowd. Accompanied by Bruton on electric guitar, he played "Me and Bobby McGee" as a tribute to Janis Joplin, plus selections from his new album, This Old Road.

Kristofferson seemed uneasy at times, unsettled by momentarily forgotten lyrics and sudden crashing drums from a nearby alt-rock stage (adding "What the hell was that?" after the first percussive flurry). But despite occasional minor stumbles, the legend proved worth the wait. Kristofferson was gentle and humble on stage, and he clearly enjoyed the adoration.

The party continued with Tim Easton, the excellent Nic Armstrong and the IV Thieves (much improved from the ACL Festival), The Drams (Denton descendants from Slobberbone), and Drive-By Truckers. Unfortunately I had to miss the Truckers, as their closing set was scheduled for the same time as my next commitment.

So instead of the Drive-By Truckers, I trudged down 6th to the Driskill Hotel for an "intimate performance" with Houston's Blue October. The band is climbing the alternative rock charts with "Hate Me" from Foiled, its forthcoming fifth album. Bassist Matt Noveskey worked with a small amp, but everyone else was without electronic accoutrements. Lead singer Justin Furstenfeld displayed amazing vocal chops and intense passion as he growled, scowled, and sang his way through a 30-minute acoustic set. These guys are truly talented musicians, a fact that can sometimes be buried beneath their genre's typical aural onslaught. Kudos to Universal Records for this private mini-showcase.

I skipped out on official night-time showcases, choosing instead to rest up for today's full schedule, which includes a morning interview with Collin Herring, the Fat Caddy Records party, and the No Depression showcases.

Hey diddle diddle… Spoon captured the most honors at last night's Austin Music Awards, with Eliza Gilkyson running a close second.

Selected winners:

• Band: Spoon
• Musician: Jon Dee Graham
• New band: The Texas Sapphires
• Female vocalist: Eliza Gilkyson
• Male vocalist: Guy Forsyth
• Songwriter: Eliza Gilkyson
• Song: "I Turn My Camera On," Spoon
• Album: Gimme Fiction, Spoon
• Rock band: Spoon
• Pop band: Wideawake
• Country band: Asleep at the Wheel
• Bluegrass band: South Austin Jug Band
• Roots rock band: James McMurtry & the Heartless Bastards
• Folk band: Eliza Gilkyson
• Contemporary Latin band: Grupo Fantasma
• None of the above band: White Ghost Shivers
• Hall of fame: The Geezinslaws, Ray Wylie Hubbard, Butthole Surfers, Kinky Friedman, Killer Bees, Fireballs, Asleep at the Wheel, Spoon, Soulhat, Jesse Taylor

See the full list of award-winners and runners-up from the Austin Chronicle, which organizes and presents the annual contest.

14 bands at 4 venues over a span of 11 hours. 2 sore feet thanks to hiking from 6th Street to Guero's and back in boots. A little tinniness in my hearing this morning. But all in all, a very good first full day of the SXSW music festival.

Here's the full rundown of the performances I saw on Wednesday:

• Eleni Mandell, James McMurtry, Tom Freund, Steve Wynn, and Scrappy Jud Newcomb at the Guitartown/conqueroo party at Mother Egan's
• Airline and Sorta at The Party Before the Thing, highlighting Dallas indie bands, at B.D. Riley's
• A.J. Roach, Beaver Nelson, Milton Mapes, and Matt the Electrician at the ComboPlate Booking party at Guero's Taco Bar
• Richard Julian and Collin Herring showcases at Exodus
• Abi Tapia showcase at B.D. Riley's

The penultimate bookends provided the day's real highlights.

James McMurtry doesn't often play at noon on a Wednesday, but thanks to PR agency conqueroo a packed tent got to witness a four song, 25-minute solo acoustic set over Guinness and fish 'n chips. McMurtry played "Saint Mary of the Woods," "See the Elephant," "Choctaw Bingo," and "We Can't Make It Here." He apologized for the brevity of his set, explaining that he had to hop a plane for a gig in Arkansas before returning for his official showcase tonight and a full set at Jovita's on Saturday. But there was no need to apologize — it was a great way to kick-start SXSW.

Collin Herring put on an incredible show to a steadily growing crowd. He followed quiet acoustic folk singer Richard Julian with a loud, full-band onslaught that veered from punk-tinged rock to pedal steel Americana — including several songs from his unreleased third album, due out this spring. This was my first Herring show, and I couldn't have enjoyed it more. And yet when I told Collin how good I thought it, he said he wasn't too happy with the set. So I'm eagerly anticipating getting to see a full show sometime soon.

Look for more from Collin Herring on Friday, when Cindy Chaffin of TexasGigs and I sit down with Collin for an interview at the Texas Chili Parlor.

Today's schedule includes the New West Records party with Kris Kristofferson, the Drive-By Truckers, Joe Ely, and more, and then a special performance by Houston band Blue October.

Made it to a couple parties on the eve of the SXSW music festival:

• BMI hosted its annual Howdy Texas dinner at the Levi's Trading Post. I could only stay for the opening set by 17-year-old Christina Bell, but Chris Stills and Curt Kirkwood were taking the stage later. Plenty of free barbecue and Red Stripe, plus schmoozing with a couple hundred media types in town for the festival. A great way to start the evening — outside at sunset on a mid-70s day.
• I then headed from 6th to 7th Street for Margaret Brown's party to celebrate the DVD release of Be Here to Love Me: A Film About Townes Van Zandt. The Beauty Bar is still a work in progress, but looks to be a fun new addition (hairstyling + manicures + cocktails) when it opens later this month. This was a younger, less schmoozy crowd, with people mostly staying within their groups of friends. Kind of a letdown, really. But I stayed for the screening of the 1998 Austin City Limits tribute to Townes, and for the comically chaotic raffle drawing (ever seen a Blackberry substitute for a PA system?).

Today's schedule includes James McMurtry and friends at the free Guitartown/conqueroo party at Mother Egan's, Sorta and Johnny Lloyd Rollins at the free The Party Before the Thing at B.D. Riley's, and Collin Herring's showcase at Exodus.

The music portion of SXSW is now just two days away, and I still don't know where I'll be half the time. But here's a preview of some events I'll almost certainly make it to this week:

• Tuesday:
• DVD release party for Be Here to Love Me: A Film About Townes Van Zandt, 6-9
• Wednesday:
• Guitartown/conqueroo party, 12-3
• Sorta and Johnny Lloyd Rollins at The Party Before the Thing, 3-5
• Collin Herring showcase, 9-10
• Blender party, 12-??
• Thursday:
• New West Records party, 1-6
• Radney Foster showcase, 10-11
• Milton Mapes showcase, 12-1
• Deadman showcase, 1-2
• Friday:
• Fat Caddy Records party, 1-6 (podcasting with Cindy Chaffin of TexasGigs)
• Robyn Ludwick showcase, 8-9
• White Ghost Shivers showcase, 12-1
• Saturday:
• Heartworn Highways 30th anniversary screening, 1-4
• Palo Duro Records party, 5-8
• Salim Nourallah showcase, 8-9
• Guy Forsyth showcase, 10-11
• Bosque Brown showcase, 11-12

See anything missing from my list that is a must-see on yours?

Lubbock native Jesse "Guitar" Taylor, who rose to prominence as guitarist for Joe Ely beginning in the 1970s, passed away in his Austin home this week. Michael Corcoran offers a nice tribute in today's Austin American-Statesman.

Just last month the Statesman's Brad Buchholz profiled how Taylor adopted art as an alternate creative outlet and wasn't ready to give up the fight even though he could sense the end was approaching:

"Whenever anybody says to me, 'You're dying' or 'You're going to die,' I think to myself, 'Well, you're dying too. We're all dying. We start dying from the day we're born," says Taylor. "As far as my own thoughts on mortality, well, it's a bummer. Because I've got so much I want to do. So much I need to do. And I get afraid, sometimes, that some of it is going to get cut short."

A settlement between Townes Van Zandt's family and former road manager Harold Eggers means the family regains control of many live master tapes, and that fewer Townes live albums will be available in the future:

Seven of those albums — including "Rearview Mirror," "The Highway Kind," and "Live and Obscure" — will be re-released by the family's record label. Van Zandt's children will decide when — if ever — the remaining five are re-released, the lawyers said. Those include last year's "Live at Union Chapel."

[Attorney Bruce] Perkins said it is unlikely the family will release any more live recordings in the future.

Read the full story from today's Austin American-Statesman.

The Van Zandts' drive to protect Townes' legacy now moves on to a fight against Tomato Records head Kevin Eggers, who is Harold's brother. Read the full complaint (PDF) filed in federal court, alleging copyright infringement and failure to pay royalties.

Looking for a fun way to start your St. Patrick's Day? Come join me from 1-6 p.m. outside Carmelo's Ristorante (5th & Red River) for the Fat Caddy Records Spring Showcase.

This unofficial SXSW event features an all-Texas lineup:

• Macon Greyson
• Austin Collins
• Black Water Gospel
• Thrift Store Cowboys
• Graham Weber

Cindy Chaffin of TexasGigs.com will be there too, podcasting the performances and artist interviews.

Admission is free, and no wristbands or badges required.

So come on out and support live, local music.

It's Texas Independence Day, so perhaps it's fitting that Jason Boland & the Stragglers are striking beyond state borders. The Texas-based (but Oklahoma-native) artist is playing Missouri and Kansas this week, helping bring outside attention to the rich Texas/Red Dirt music scene:

[I]t's possible to be "big in Texas" but unknown in other parts of country, even the Midwest. Texas stars who can draw thousands into a beer hall in the Lone Star State often draw nothing but blank stares from people a few states over.

I've often wondered why this brand of country music inspires such fierce loyalty in those who listen to it. … I got a few answers when I spoke with Jason Boland on the phone this week.

These artists are believable because they're close to the ground. They're from around. People feel like they know them, like they could sit down and drink a beer with them.

Read the full article, "Honesty of Texas music invites loyalty from its fans," by Michael Brothers of the Springfield News-Leader.