You can call him Bob: Sure, memoir publications are announced every day, but this one is special because it comes from the magnificent pen of our former music critic, Robert Hilburn. Plus, ahem, we can attest that it won’t be another “Love and Consequences.” Modern Times/Rodale announced Tuesday that they had signed Hilburn to write “a deeply personal and highly opinionated memoir” about his experiences with some of the musical giants of the ’60s, ’70s and today, including John Lennon, Bob Dylan, Bruce Springsteen, Bono, Jack White and Eminem. Hilburn has accompanied musicians in some spectacular circumstances, including Johnny Cash at Folsom Prison and Paul Simon’s tour through Zimbabwe, a thought that would make Vampire Weekend totally spaz out with jealousy.

News of the Weird: When I was a kid, my best friend and I regularly made something we called witches brew, which involved throwing a bunch of liquid and condiments into the kitchen sink and then stirring it around like it was a bubbling cauldron. Friday’s show at the Roxy kind of reminds me of witches brew — either this will be genius unhinged or it’ll smell like vinegar and everyone will want to get out: Wayne Kramer will sit in with the Presidents of the United States to perform “Kick Out the Jams.” Well, OK! But then it gets even stranger. “Weird Al” Yankovic will perform too. Turns out the spoof maestro met PUSA back when Al satirized their hit song “Lump.” He also directed their video for “Mixed Up SOB.” Here’s hoping that PUSA, Kramer and Al collaborate on a version of “Fat,” just because they can.

– Margaret Wappler

Photo of Paul Simon circa “Graceland” by YG.Yann Gamblin.

It was a tough decision: stay and watch 2 Live Crew, who were tardy for their SXSW performance at the Levi’s/Fader Fort, or try to catch a cab and ride across the river to see the far more talented and successful Ice Cube. On quality alone, I shouldn’t have been anywhere near the packed “fort,” but quality isn’t what helped the Florida rap group sell more than 2 million copies of “As Nasty as They Wanna Be” nearly 20 years ago — it was juvenile, sexual foolishness.

Since I had already seen Ice Cube perform, and since I found myself a near front-row center spot on the floor, I decided to stay and enjoy the rude, crude, hip-hop Miami schlock. I wasn’t at all disappointed.

2 Live Crew aren’t about fast rhymes, intricate beats or social commentary. They’re about basic, raw, stoopid fun. They are the epitome of lowest common denominator, so it’s OK, the audience rationalizes, for everyone to let down their walls, raise their hands and sing along to the ridiculousness that’s perfect for Spring Break.

Even without Luther Campbell, 2 Live Crew exude a sexual energy and raucous vibe that makes women want to climb onstage and shake their moneymakers. Brother Marquis, along with founding members Chris Wong Won and Mr. Mixx, capably rocked the mic in Mr. Skywalker’s absence. Indeed, that contagious who-gives-a-bleep feeling, booming bass and strangely familiar and elementary lyrics foster a party atmosphere that makes you think, “No wonder the Broward County Sheriff’s Department hated these guys — something dirty was happening and it was hot!”

Several ladies from the audience joined the group onstage, most of whom had no problem dancing suggestively to the hits “Oh, Pretty Woman” and “Me So Horny.” In fact, one enthusiastic woman grinded on Won and Marquis’ knees and later found herself being lightly groped … willingly.

When it was all over, we all felt a little bit groped. Willingly.

– Post and photo by Tony Pierce

In the bowels of the Austin Convention center, blocks away from the rock clubs and BBQs, lies a treasure trove of concert posters.

Flatstock showcases concert poster art, usually sold by the artists. Started by legendary artist and Austin native Frank Kozik and the American Poster Institute, the 2008 SXSW Flatstock is the 16th Flatstock convention since 2002. (Flatstock tours various cities, including Chicago, San Francisco and Denver.) Featuring dozens of artists, hundreds of amazing posters and classes in silk screening, Flatstock provides an opportunity for rock and art fans to buy, learn or just absorb killer poster art.

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No word on which day he will crash the party, but Prince will be added to the lineup for the Coachella Valley Music & Arts Festival, which runs April 25-27 at the Empire Polo Field in Indio, sources tell me.* No confirmation from the artist’s websites, which seem to be down (or under construction) at the moment. But this certainly adds some meat to the the festival’s slightly protein-starved roster.

Goldfrapp and Aphex Twin were recently announced as additions to the lineup, as well as Serj Tankian, Redd Kross, Kate Nash and Adele (update: Adele, according to Goldenvoice, “is no longer performing.”)

Only 37 days until the desert.

– Kevin Bronson

Photo: L.A. Times files

*Correction: Coachella co-producers AEG Live have responded to this post. Brandon K. Phillips, CEO of AEG Live, writes in an email: “Paul Tollett, the head of our Goldenvoice division and our partner in the festival, just called to tell me that the LA Times put on their blog that Prince was playing Coachella. This is absolutely not true… Regardless of what the Times was told, there is no commitment from Prince to play Coachella.” Stay tuned…. this is the Purple One we’re talking about, so anything could happen.

UPDATE 4/9/08: Prince to play Coachella

The lookie-loos Monday night on the Sunset Strip probably thought another installment of “Back to the Future” was in the works, what with the two sleek DeLoreans parked in front of the Viper Room. Drivers  slowed to snap photos from their cars, and club patrons hopped in to get their pictures taken.

But the real story was inside the Viper Room, where Neon Neon was playing only its fourth live gig in support of today’s release of “Stainless Style.” It’s a concept album chronicling the life and times of engineer-entrepreneur-playboy John DeLorean in smart, neo-’80s dance-pop songs.

No surprise that the album succeeds; it’s a side project of Super Furry Animals front man Gruff Rhys and L.A.-based producer Boom Bip, and it features vocal contributions from Cate Le Bon, Naeem Juwan from Spank Rock and Yo Majesty. But studio ventures — and especially side projects — have a habit of getting messy when the music is finally staged.

There were some rough edges Monday, but not anything you’d think was a mess. Rhys, fully backgrounding most of the songs for the almost-full house, presided calmly over the proceedings, which included tight disco numbers and bouncy guitar pop rendered tightly — if a little short of full throttle — by a five-piece band comprised of Rhys, Boom Bip, Le Bon, guitarist Josh Klinghoffer and drummer Eric Gardner. With the hip-hop contributors absent, Har Mar Superstar stood in as rapper, and his kitschy showmanship applied a deserving smile to the end of the evening.

“Stainless Style” might end up merely being fodder for iPod DJs, or maybe it signals the birth of a new band. One thing for sure: It’s nice to see electro in the hands of real musicians.

– Kevin Bronson

Photo: Gruff Rhys (left), Boom Bip, Cate Le Bon and Har Mar Superstar feed the meter on Sunset Boulevard. Courtesy of Mark Sovel / Indie 103.1

Some self-proclaimed SXSW experts advise that you shouldn’t see established acts at the music festival. They argue that with 1,500+ bands you should take in the new talent, the unearthed gems, the kids who wanna rock. The problem with that argument is that if you simply see the new blood, you have no baseline to compare them with.

On Friday night, Thurston Moore’s underground label Ecstatic Peace! held a showcase at the Mohawk Patio on Red River, and what a showcase it was. The punk rock battle royale of sorts started with a bang when Be Your Own Pet climbed onstage, asked the crowd if they were ready and proceeded to bring the noise like nothing we had seen all week. After three songs, the power went out. Some say because the generators ran out of gasoline, but others suspect because the Lord Above needed 15 minutes to gather his angels together so that they could witness the rock that was going down below.

The Nashville youth got back to their punk assault after the generators were attended to and the fury somehow was released at an even higher level with singer Jemina Pearl Abegg (bottom photo) writhing around the stage like a young girl who had far too much evil inside her that needed to get out. She humped the monitors, rolled around the stage, screamed and yelled as her band jumped around her.

She and her band exemplified the power and beauty and energy of punk rock and they did it in front of two legends, J Mascis and Thurston Moore (pictured at the top), who were not about to be shown up by anyone half their age.

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Guest blogger Tom Brosseau tries to write a short story every day. He’s playing the Largo on March 20 with David Garza.

I took a drive. I stayed on Lavaca. There were some folks gathered around an ice cream stand. That’s something I haven’t had in a while. I pulled into the lot. I waited in line. I was far from downtown, but still close to the music. I ordered a Neapolitan. I made friends with a couple students from the university. The girl had a red nose from being in the sun and the guy was wearing a Texas Longhorns shirt. They were fans of Saul Williams.

I played a CD somebody made for me. “These are bands I think you’ll love!” The first song was by Ana Egge. I took Martin Luther King Boulevard to Lamar, which brought me past Duncan Park. The grass is starting to turn green, most of the trees are bare, but it sure feels like summertime. I don’t have any set direction.

I ran the AC on low. The sunroof was open. I learned a trick — if you open the sunroof and roll down one of the back windows, it pulls air into the car. I have not removed my sunglasses since I arrived. I have crossed the train tracks. I feel like I am in another state. The scenery couldn’t be prettier. I am at Town Lake Metropolitan Park.

I bought a postcard. The front is a picture of Will Rogers, Oklahoma’s favorite son, sitting on a bench, smiling, holding a rope. He was a skilled roper, skilled enough to be in the Guinness Book of World Records. Will had Cherokee heritage. He died in a plane crash in Alaska. I have not addressed the postcard.

I have seen so many of the Yaris cars, all of them fuel-efficient Toyotas. At the 2007 SXSW, I had my picture taken with one of the gals from Yaris. She was very photogenic. She had a T-shirt that said “Ask Yaris.” She gave me a book, “Perfect From Now On” by John Sellers.

I drove by the house where writer O. Henry (William Sydney Porter) used to live, which is now a museum. It’s pretty plain looking, really, a little Queen Anne with the shutters closed. It looks a little lonesome. There’s a black lamp post in the front yard. One of my favorite O. Henry quotes is “Hospitality in the prairie country is not limited. Even if your enemy passes your way, you must feed him before you shoot him.”

I stopped into Waterloo records. I wanted to know if they had any T-shirts. I bought one. I also bought a white book tote. I found the new Film School record, “Hideout.” If I had my choice, I would play like Film School. I don’t, though, and there’s only one Film School.

Mary sent me a text: r u hungry? wan 2 gt sum food? Mony V. gave me a few recommendations. I met Mary at Woodlands.

“Jones, over here,” I waved.
“I made it!” she said. “My feet!”
“Lotta walking, huh?”
“You betcha! I had to buy Band-Aids for the blisters. I’m not complaining, though! It just feels good to sit down.”
“I was looking at the menu. The special is the pan-seared halibut.”

The waitress came over with some water, buns and butter.

“What can I start you off with?” she asked.
“I’ll have a Topo Chico,” I said.
“I’ll have a white wine,” Mary said.

It is dark. I’ve not packed for Los Angeles.

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When the video for Lil’ Wayne’s new, so-inane-it-might-be-genius single “Lollipop” began making the rounds, it seemed oddly … familiar. Not just because its narrative arc of Wayne looking stoked about his money and club-girl harem is well-traversed hip-hop video territory, though. Something in the particular visual kinesis of him driving around Vegas playing guitar out of the sunroof of his stretch Hummer or whatever. Then it hit us –  Silversun Pickups (and director Joaquin Phoenix) made the exact same video for their single “Little Lover’s So Polite.” Just replace the Pickups’ preteen Aryan couple and downtown L.A. with Wayne’s video vixens and the Vegas strip. Note the 1:53 mark in “Lollipop” and the 3:06 point in “Little Lover’s” where each artist plays their respective butt rock guitar solo. Wayne’s guitar face is much more convincing, we think.

– August Brown

Illustration by August Brown; Lil’ Wayne photo by Jonathan Mannion; Silversun Pickups photo by Gail Salmo

Lil’ Wayne: “Lollipop”

Silversun Pickups: “Little Lover’s So Polite”

When other 1960s youth were growing out their hair, turning on, tuning in and dropping out, rural Oregon’s all-kid Christian rock band the Click Kids were, as the back of their impossible-to-find LP states, dedicated “to the winning of souls and the encouragement of other young people to give their talent to the work of the Lord.” Click, by the way, stands for Christ Living in Christian Kids. Stryper, eat your heart out! Thanks to the recent vinyl-only compilation “God in the Garage,” on Gabriel’s Trumpet Records, a new generation of lost souls — or just souls in search of righteous (and bizarre) garage music — can revel in the good word of the Kids.

For sure, the songs are silly, featuring lyrics such as “Run Samson run/You’re gonna lose your hair/You’re gonna go to prison/And die down there,” but the music is actually pretty good. Catchy, funny and yes, kinda rockin.’ It’s not often I awake in the middle of the night with a song running through my head, but the Click Kids have wormed their way into my subconsciousness on several occasions with hits such as “Fugitive From God” and “Happy Happy Christians.” Plus, it’s hard to argue with a teen band that traveled around proselytizing with a van emblazoned with the words, “Jesus Is a Soul Man.”

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Wale (pronounced wah-lay), Kid Cudi and Blue Scholars, a set of performers all inspired by Kanye West in one way or another, were the highlights of SXSW and a sign that hip-hop is becoming a stronger force at  the festival. More than a little credit for that upswing goes to Matt Sonzala, SXSW’s new hip-hop programmer, who told me that this year had more acts than ever.

Too bad that enthusiasm didn’t extend to GZA’s show. The legendary Wu-Tang Clan member gave a nostalgic performance at Stubb’s Bar-B-Que on Saturday night that could be best described as tepid, with the exception of cuts he performed from his classic “Liquid Swords” album. The Wu-Tang faithful were there en masse, with raised “W” handsigns everywhere as GZA performed songs that begged participation from the entire Wu entourage.  Based on past experiences of seeing the nine-man outfit perform together, GZA desperately needed his crew to lift his performance off the ground.
It didn’t help that GZA was preceded by the fresher and more nimble Wale, name-checked in Ann Power’s review (read here). The D.C.-based rapper known for including the rapid bongo-beats of Washington-area go-go music recently signed to Interscope Records via Mark Ronson’s label (another Ronson signee: a little English gal named Amy Winehouse). Wale encouraged his pal Cudi to perform a song. Cudi mouthed to him, “I don’t know this song,” so Wale, kind soul that he is, let him do a quick solo number (pictured above).

Wale’s rhyme style reflects West and Lupe Fiasco. His thought-provoking, fashion-conscious lyrics contain a little bit of glitz but are grounded in his gritty roots. After bolting ontstage and performing his Internet-hyped song “Nike Boots,” he greeted the Austin audience: “I just want y’all to know, I didn’t vote for George Bush.” Um, did anyone really think otherwise?

But the festival’s biggest surprise was the Blue Scholars, a Seattle group making its first SXSW appearance. They’ve been the toast of Seattle’s burgeoning hip-hop scene for the last few years, and for good reason.  Their politically conscious lyricism, delivered smoothly and eloquently by Geologic, features political protesters and soldiers returning home from war.  The group recalls the early days of hip-hop with one DJ and one MC. Check them out for yourself here.

– post and photo by Camilo Smith