Rockin' in the Free World
Creative Loafing music editor makes the rounds at South Southwest

AUSTIN, TX -- The confluence of the South By Southwest music conference hitting its 20th year and this Texas town's reputation as a bohemian haven and key music capital meant that, above all, the 2006 SXSW lived up to its reputation as a summer camp for music heads. The event, held last week, totaled five delirious days, 1,400 bands and 65 official stages; industry legions partying to excess; music critics giddy at the prospect of show-hopping nirvana; and moments of artistic poignancy and pulverizing weariness. Some of the hottest moments came courtesy of Charlotte acts like soul man Anthony Hamilton and indie-rockers The Talk.

As songwriter, musician, actor, cool icon and Texas legend Kris Kristofferson was being honored during the event, his lyric "freedom's just another word for nothing left to lose" came to mind. Into this musical bacchanal, I wandered with freedom and the articles of sonic faith on my mind:

DAY ONE:

My first-day highlight was crossing the picturesque Colorado River with Blogging While Black panelist George Kelly. We were headed to a screening of Alex Hinton's Pass The Mic at the Alamo Drafthouse Cinema. The film documented the burgeoning gay hip-hop movement (aka homohop) and centered primarily on the Bay Area scene. It featured black and Afrocentric homohop pioneer Juba Kalamka (who has done vital archival work on behalf of the community and nurtured scores of artists) and his Deepdickollective bandmate and spoken-word artist Tim'm T. West, whose West Village travelogue is priceless. Hinton, who hails from around Spartanburg, SC, was on hand for a Q&A session.

Later in the evening, we entered the singer-songwriter zone, with the BMI showcase of Stephen Stills' son Chris delivering one of the finest performances I witnessed during the festival, not an easy feat when most acts have roughly 40 minutes to display their work. Backed by a rhythm section, Stills seamlessly switched between guitar and electric piano. His newer songs show a good deal of evolution, channeling the jazzy swing of Tim Buckley's early Elektra records. A promising direction for one of roots rock's younger lights.

My first of many pedicab rides then took me to Austin's famous Antone's blues club to catch Canadian hip-hop artist k-os, who closed out the night on an odd note. He started late, only mentioned special guest Melissa Auf Der Maur (ex-member of Courtney Love's Hole) toward the end in making reference to a recalcitrant bassist, and abruptly cut his set short while announcing the end of his relations with Astralwerks Records. Rather unprofessional, but k-os is a quite gifted MC whose sung rhymes and band kept the audience hyped.

DAY TWO:

My last festival serendipity was a front-row seat my hero Kris Kristofferson's interview session. The songwriter discussed a range of topics, including his struggles in Nashville and his film career. Most riveting was his exploration of the tension between growing up in a Texas military family and his outlaw convictions. The first song he recorded in Nashville was "Vietnam Blues" by Dave Dudley. Kristofferson's current release This Old Road (New West), featuring key track "The Burden of Freedom" (long time since "nothing left to lose") may be his best recording since his classic The Silver Tongued Devil and I. Claiming freedom is a necessity of life that's also a double-edged sword, Kristofferson sings, "He didn't beat the Devil, but he tried."

Racing to Antone's again, this time to catch California folk-rock veteran Richie Furay, challenged my assumptions that his show would be woefully under-attended amidst the flood of young buzz bands. Every Boomer on earth was already in line it seemed (including former '60s groupie Miss Pamela DesBarres), alongside numerous twenty-something Austin locals who must've caught wind of rumors that keynote Neil Young might sit in. I was giddy from witnessing two members of my all-time favorite band, the Buffalo Springfield, in one day. Young did not appear, but Furay was in fine voice and his multi-generational band offered very hot pickin', blending old and new Americana tradition. Furay warmly referred to his old podnahs Young and Stephen Stills before singing six Springfield songs, including the great "Nowadays Clancy Can't Even Sing."

Among several Austin debuts, the best included an appearance at La Zona Rosa by Charlotte's own Anthony Hamilton. Appropriately, I walked in on a groovin' rendition of "Southern Stuff." As with most urban-themed festival shows, black Austinites outnumbered festival badge-holders, but the mixed crowd was definitely eating out of Hamilton's hand. A nine-piece big band held down the mix of soul grit, gospel and cool jazz, as Brother Anthony worked the stage. Sadly, he didn't offer "Lucille," but Hamilton was gone to church and tore it up testifying and exhorting call-and-response during "Preacher's Daughter."

Lacking energy to fight throngs of teens for admittance to the Morrissey show at Austin Music Hall -- or the wheels to check out Raleigh's Tres Chicas and Chatham County Line across the river -- I opted for Gogol Bordello at the club Emo's. This Rama-punk outfit has been on the come-up in New York City since my departure.

The band had a late start and at first it seemed the thinned-out crowd was too tired to act. But more revelers arrived and the group stunningly tore the roof off the sucker. This was almost literal, as frontman Eugene Hütz was swinging from the rafters while crowd-surfing on a drum head supported by one of his dancing girls. With every stroke of the fiddle fit to make Paganini froth in his grave, an audience full of pasty indie-rock types waved their hands in the air and jigged like they were throwing down with the Zampoughi. Everyone sweated and levitated as one.

DAY THREE:

Las Manitas is the well-liked local Mexican restaurant on Congress Street where I met up with the members of Charlotte MoRisen bands at an industry party. I spoke briefly with Justin Williams of The Talk about his South-By expectations; he professed his main aim was to simply have fun and take advantage of catching other bands. The Sammies and Elevator Action were on hand, too, to celebrate the coup of their showcase the following night at Nuno's Upstairs on 6th Street. Fresh-faced lads (and laddette), they all offered up beer-enhanced smiles and a warm Southern vibe to the perpetual overcast chill that hung over Austin the whole week.

Hours later, after Bettye LaVette's cancellation at La Zona Rosa and a long wait at Antone's to see Sharon Jones and the Dap-Kings, tensions and fatigue were starting to run high. My impulse to duck in and catch a few minutes of the Denton, TX, act Centro-Matic at Maggie Mae's provided some fleeting restorative. With my friend Shonna Tucker of Drive-By Truckers, I watched her husband Jason augment the quartet on guitar. It was nice to see a crush of folks assembled for the room's last show of the night, wowed by what's been described as Centro-Matic's 'country twang meets emo,' notably on the sublime "Patience For the Ride."

DAY FOUR:

Saturday was spent mostly away from the main drag. I went straight from the hotel to the 30th anniversary screening of Jim Szalapski's documentary Heartworn Highways at the Hideout on North Congress. Observing a score of Austin-based singer-songwriters in 1975, the film includes performances by Guy Clark, the Charlie Daniels Band, a 19-year-old Steve Earle and David Allan Coe at a Tennessee prison. Of note are a recording session by South Georgia singer-songwriter Larry Jon Wilson and hilarious scenes touring the late, great Texas songwriter Townes Van Zandt's homestead.

Getting to the Town Lake Stage on the Colorado River for the New Orleans benefit was challenging. Fortunately, we caught a free shuttle in time to sample some jambalaya and red beans 'n rice in the VIP suite before the Dirty Dozen Brass Band started its set. The Dozen brought their usual uncut funk and party vibe to the stage and kept the audience completely motivated to throwdown. Ivan Neville's Dumpstaphunk held the Second Line, mixing originals with well-picked covers like Parliament's "Unfunky UFO," which gave my shot left knee some trouble.

The set's shining moment involved the dual meaning of one song's message taking on a dual meaning: newly-minted Austinite Cyril Neville led the band on a show-stopping take of Curtis Mayfield's "This Is My Country." As Cyril Neville ad-libbed lines about America's debt to New Orleans and centuries of African slavery, I was moved to make like Tommie Smith and 'nem at the Mexico City Olympics.

The sheer level of mastery continued with living legend Allen Toussaint. Dapper as ever in suit and tie and consummately regal, he expertly led his band through his back pages, including "Lady Marmalade" and "Yes We Can Can," which got the bloods and the hippies freaking out. At one point, Toussaint claimed, "If there'll be one man left to wage battles in New Orleans, it's going to be me!"

At Club One 15, Arrested Development founder Speech was calm and collected as he took the stage backed by two acoustic guitars and drums. He served as a good ATL ambassador, spreading positivity to the small but packed house. The crowd responded most to AD classics "Tennessee," "People Everyday" and "Mr. Wendal." But folks also showed respect for his current solo material from The Vagabond (Bluhammock). Best amongst these tunes was "The Harvest," a largely sung composition dedicated to his family that indicates the 37-year-old Speech is at the vanguard of providing music for the mature hip-hop listener weary of bling and bullshit.

I then moved on to witness the first half of the MoRisen showcase back on 6th Street. Label head Chuck Morrison and publicist Amy Barefoot were kicking it at Nuno's, as were The Talk's C.R. and Justin, and Elevator Action's Laurie Ruroden. Photographer Daniel Coston was also chronicling the action. When the Sammies took the stage, they rocked out before a pretty full crowd considering their debut doesn't drop till this summer. The Sammies presented themselves as "beer-drinkin' music for beer-drinkin' people," which of course gathers anyone with a taste for hops. Their fresh take on post-modern Southern rock and unaffected enthusiasm was infectious. Before Elevator Action's set, the crowd had thinned out somewhat as it was past 1am. But the hometown trio made the best of it.

It's a good thing Elevator Action's raw, snarling pop-punk had it going on since my last gig of the festival, Black Moses at the Ritz' Blender balcony, made my ears bleed. Rock & soul may wax and wane in quality and relevance, but belief in its sonic power had brought several Charlotte acts and myself halfway across the country to Texas, the belly of the beast itself. America's heart-worn highways haven't lost the spirit of liberation yet.

Creative Loafing
Battle of the Network Stars
The Sammies make a play for primetime
BY TIMOTHY C. DAVIS
Published 02.22.06

When Will Huntley (aka "Frank Backgammon," guitar and vocals), his brother Joe Huntley ("Don Yale," drums, vocals), Josh Parker ("Gymmy Thunderbird," bass) and Tyler Sheppard ("Murphy Upshaw," guitar) formed the Sammies a couple years back in Wadesboro, NC, record labels were the last thing on their mind. They were more concerned with booking a few gigs and gaining a little credibility in the burgeoning Charlotte music scene. To that end, the Sammies played wherever they could, stayed around to support the headliners, and rarely turned down a gig, even for little or no money. They were too concerned about getting their feet wet to worry about drowning in a sea of label offers.

Today, the Sammies boast a newly-recorded CD produced by John Agnello (Dinosaur Jr., Breeders, Mark Lanegan, plus a host of others), loyal fans along the eastern seaboard and a record deal with Charlotte's own MoRisen Records. The self-titled disc isn't so much a concept album as it is a statement of purpose: This is Sammies music. Every song possesses something unique, even as it's music that preys on its influences (MC5, old Piedmont Blues, Pavement) before reengineering the carcass into something useful. The Sammies is the product of Jamie Hoover's local Hooverama studios, and set to drop in June (if not earlier). According to frontman Will Huntley, that day can't come soon enough.

"The album is self-titled, there is no real theme or artistic vein we traveled," says Will Huntley. "It is the Sammies, so that's what it'll be. Our second-choice album name was The 13 Wishes of Dr. Grishop. We like all of the new songs, like 'For John' and 'Caretaker.' But even some of the first ones we ever wrote -- 'Cornerstore' and 'Coming Out Wild" -- really came out well and are already some of the most liked songs on the album."

The band's equally excited about their new home.

"We signed with MoRisen because we wanted to support our local scene the best we could. We tried to keep it all in Charlotte. We even chose to record here for that reason. We knew Chuck (Morrison, the label's owner) and some of his bands, and liked what he had done in such a short amount of time. He is a businessman, not some scraggly music fan with money. Plus, we aren't getting any younger -- you can sit around and wait for the bidding war to start, but it usually never does. You need help, bottom line."

Thanks to Morrison and a choice New York encounter, the band enlisted Agnello, a near-legend not remotely looking for work, to man the dials on their debut. Agnello was even spotted sporting one of the Sammies' own "assface" T-shirts in the studio recently, and telling anyone who'd listen that the Sammies were about to make a splash. Huntley says the admiration is mutual.

"John Agnello, aka DJ Geezer? He did some work with Chuck before, with Elevator Action. When we played CMJ, he came out and we talked and really hit it off. He liked our sound and had ideas from the get-go. He was an incredible guy to work with. He knew how to work with a green band like us -- he's the seasoned professional, has done a ton of work. He'd just finished mixing the new Drive-By Truckers album when he came to record ours, and we caught him right before his wife had a baby. The timing worked out well. Working with John and Jamie Hoover was a trip the whole time -- we were always cutting up and laughing. Of course, hanging out on Freedom Drive is a memory in itself -- one guy tried to sell me 10 condoms for $5 so he could get a nickel bag of reefer. He said, 'That's all I'm trying to do.'

"Anyways, we gave John a CD of all the 30-40 songs we had recorded," Huntley continues. "We all made a list, and we honestly butted heads. It was down-right uncomfortable for several hours. But, just like our great country, we had to compromise, and now we don't regret a thing. The logic was: He must think he can record some of these well, it must fit his style, so for that reason we did them. And now those songs are some of the ones that turned out the best."

With the album in the can, Huntley and Co. are now turning their attention to lining up shows to back the record.

"We could always do better at networking, even though I think we have stepped it up recently," says Huntley. "At first it was just friends having fun, but now it's a business and we've had to start acting like it. Networking is key in all business, but in the music business it's life and death. Since there is little to no money involved in the stage we're at, networking and exchanging favors is how you get somewhere. Trade a gig here, get one there, 'So-and-so is a friend of a friend of so-and-so who can hook it up,' etc. Whether you like it or not, places like myspace.com are changing the face of music, especially indie music. No longer do you need to be signed to one of the big labels to be heard. We have hit the Internet hard, and it seems to be working.

"But you have to follow that up with shows," Huntley continues. "Out-of-town shows, write-ups, and generally working on making your music accessible and affordable. Sometimes you play shows where you swear the only people watching were the other bands. But then the one person in the corner tells a friend and next time you play the place, there's a whole group. You can't expect people to just come out because you think you have some decent songs -- it doesn't work that way. And it is some bands' demise."

Having good songs and the wherewithal to get them ringing in people's ears? That's the stuff household names are built on. If the Sammies' track record is any indication, those households will be of the nationwide variety soon enough.

News and Observer
Critic's picks - Rock
David Menconi on the best rock and more

Back in the day, we used to have a catty phrase to describe bands that sounded a bit too influenced by Athens, Ga.'s most famous mid-'80s export: "R.E.M.-damaged." But the reason so many bands were playing driving, jingle-jangle guitar arpeggios back then was that it was such a great sound. Twenty years later, it still is. You'll hear echoes of R.E.M. dressed up with a lot more rockin' whomp from the Sammies, a very fine band from over in Charlotte. Alas, the Sammies' self-titled debut album won't be out until June. In the meantime, you can catch them live Saturday at Kings in Raleigh (www.kingsbarcade.com) with Iconic and Laid Out Level.

Flagpole (Athens, GA)

THE SAMMIES (Tasty World) This Carolina band's jangly, Southern punk-inspired rock has drawn comparisons to the early-'80s "Athens sound."

The Red and Black (Athens, GA)

No Sammy in band The Sammies

There is no one named Sammy in the rock band The Sammies — there is a Will, a Tyler, a Josh and a Joe. The Sammies, originally from Waynesboro, N.C., are opening for The Whigs tonight at Tasty World. Lead singer Will Huntley is excited to play in the Classic City, after performing here twice before. “We love Athens,” Huntley said. “The guys keep saying that we’ve got to move here.” After meeting at the University of North Carolina, Huntley gathered his friends and his brother, Will, to form the band. All the members of the band are self-taught musicians who write their own songs. “I’ll just be walking around the house, an idea will come and I’ll grab my guitar and just play it,” Huntley said. “The music comes first, you know—the backbone, and then the lyrics.” The other bandmates then add their instruments as they see fit and a song is born. “We try to blend classic rock with the newer indie rock bands that have come out,” Huntley said. These mixtures give the band’s live show a lot of energy. The Sammies do it all for the music and the fans. “Someone will come up afterwards and tell you that they liked (the show) and that’s all that matters,” Huntley said. “As long as one person likes it, then it was worth it.” — Kip Welch

Creative Loafing
"Its a testament to their chops and enthusiasm that in a rediculously rich season for new bands.. their impact was the most memorable." ~John Schacht, Creative Loafing .......................

Creative Loafing
"I first saw the Sammies Opening for Patty Hurst Shifter at The Room about a month or so ago. The Shifter had the whole rock star look think going on, and certainly the more glittery regional resume. However, in my opinion (and the opinion of more than a few others that made it out that night), the Sammies pretty much stole the show, with a confident set of energetic post-punk that revived my faith in straight-ahead rock. It's jittery, jagged stuff, something if like pavement covered the Strokes (or maybe vice versa). Frankly, it's hard for me to remember exactly what they sounded like, glued as I was to their set. I do remember that it was something of a revelation..." ~Tim Davis, Creative Loafing ...............

The University Times
"The four friends have only been together as The Sammies since January, but have quickly become the musical wonderboys of the Charlotte area." ~Marc Bess, The University Times ........................

Encore Music Review
."The Sammies from Wadesboro, NC, will keep the party going with their upbeat cavort (with a hint of country) rock-and-roll... have only been together since January '04, having already mastered their sound and a devoted following." ~Lindsey D'Emilion, Encore Music Review ................ ".

Independent Weekly
..Even more enticing are the Sammies from Charlotte. A noted live act that's become one of the city's best. The Sammies have an at times rustic Southern sound but are just as likely to burnish a bit of punk intensity and garage rock roar." ~Chris Parker, Independent Weekly .................

The Anson Express
"Stardom on the horizon, The Sammies are four boys on the move. Their blend of dynamic, driving rock and roll will keep everyone on their feet guaranteed, myself inclueded. Come see them, and their racous live show, before they were famous." ~Melanie Morris, The Anson Express ...............

Creative Loafing
"The Sammies have impressed nearly everyone who's seen their MC5/Mooney Suzuki-like live gig. Entertaining, to be sure, but wait 'til you hear their record: Amazing." ~John Schacht, Creative Loafing ...............

Creative Loafing
"One concertgoer excitedly described the Sammies as sounding like they could have strolled straight out of the kudzu-covered fields of Athens, Georgia, circa 1981. It was an apt description, I thought. There's something for everybody in the band's mix, provided you like to have some fun: a little garage, a little post-punk, and a little un-ironic Southern Rock, all tied up with Malcolm McLauren's bondage straps... Word has it they're going to record with the NYC wonderboys The Walkmen later this year, the very same Walkmen that author David Eggers recently called the "American Radiohead." Call the Sammies the Charlotte Walkmen, then. They may not ever make it to the radio, but damned if they don't stick in your head." ~Tim Davis, Creative Loafing