As Austin, Texas, prepares to be overrun by musicians from around the world for this year's South by Southwest, Joe Belock makes life a little simpler by offering his Top 10 acts to check out during SXSW.

2. Mouse and the Traps -- March 20 at the Continental Club.
One of the more unexpected reunions of the year -- SXSW or anywhere in the world. These garage legends from Tyler, Texas, are best known (or only known, if at all!) for their 1965 Bob Dylan-inspired snarler "A Public Execution," which appeared on the original Nuggets double album. "Maid of Sugar, Maid of Spice," an even crazier tune, made it onto Rhino's four-CD version of Nuggets in 1998.

3. New Wine (a.k.a. Moby Grape) -- March 20 at Dirty Dog Bar.
Another old band, but these star-crossed '60s San Francisco legends are worth checking out. Original members Jerry Miller, Bob Mosley, Don Stevenson and Peter Lewis are joined by Omar Spence, the son of the late, great Grape Skip Spence. In 2009, the band released The Place and the Time, a rocking comp of demos, outtakes and alternate takes.

4. Sweet Apple -- March 18 at Habana Calle 6.
Here's a new band, albeit one made up of familiar faces and voices: J. Mascis of Dinosaur Jr. is the drummer, like he is in the band Witch. Add in another Witch member and two members of Cleveland glam-punkers Cobra Verde and you have a new supergroup for 2010!

5. The Golden Boys -- March 20 at Encore Patio.
Get in on the ground floor with these soon-to-be Austin legends before it's too late. To call them punk or garage is not enough -- psychedelicized Tom Waits-influenced numbers, country-rock and numerous other styles blend in to make The Golden Boys a must-see/hear at SXSW.

6. Brimstone Howl -- March 18 at Jaime's.
These young howlers hail from Omaha, Neb., with a punk-blues blast worthy of a missile silo. Their debut was produced by Dan Auerbach of The Black Keys; the next was helmed by Detroit soundmaster Jim Diamond. See what all the fuss should be about!

7. Harlan T. Bobo -- March 18 at Barbarella.
It's hard to pin down this mysterious Memphis, Tenn., singer/songwriter, but Leonard Cohen is a good starting point -- and not just because he named his second album I'm Your Man. His new album, Sucker, will be released in April.

8. Greg Ashley Band -- March 18 at Jaime's.
Modern psychedelic master Greg Ashley shows off his new band to the SXSW audience. Expect to hear tunes from his former bands the Mirrors and the Gris Gris, plus material from his solo albums and some new stuff.

9. Parry Gripp -- March 20 at Cedar Door.
As the singer/songwriter for the punk pop band Nerf Herder, Gripp penned his share of novelty numbers, and the fact that SXSW lists his genre as comedy suggests he is continuing in that vein. Gripp's solo career started with an album of fake jingles in 2005, For Those About to Shop, We Salute You. He has since graduated to real jingles, most notably the Beatles-inspired sandwich tunes for the WaWa chain that match anyone's best material (check www.hoagiefest.com).

10. Sons of Hercules -- March 20 at Jaime's.
These San Antonio garage-rock mainstays hardly tour, so if you are coming to SXSW from out of town, this is your chance to see them! Bass player Casino El Camino also cooks up a mean burger at his self-titled establishment on Austin's Sixth Street.

-- Joe Belock is the host of Three Chord Monte, which airs from noon to 3 p.m. ET Tuesdays on WFMU-FM.

Golden Boys photo by James Rippey

Brimstone Howl photo by Patrick Boissel

Southern Gothic (EMI/Virgin), the debut album by the style-blending Atlanta-based collective The Constellations, won’t be released until June 22. But curious music listeners can get a taste of the album by visiting the Constellations site or, better yet, by checking out the band (which tours as a five-piece unit) at one of its many scheduled shows during South by Southwest.

Leader Elijah Jones took a few minutes to discuss the making Southern Gothic, the music scene in Atlanta and what's on his shortlist of things to do while in Austin, Texas.

Were there any mysterious sounds, feedback or minor mistakes during the recording of Southern Gothic that sounded so cool they stayed in the final mix?
Jones: "While recording 'What I See,' we used a drumstick banging on a windowsill and a toy piano to get the constant beat that goes through the whole song. On 'Step Right Up,' we used an African talking box."

What's the Atlanta music scene like these days?
Jones: "It's a great place to be if you want to make music -- everyone is super-supportive. Bands like Gringo Star, Blair Crimmins and the Hookers, Ruby Velle and the Soulphonics and The Black Lips are putting a new spin on a throwback sound.Hollyweerd, Grip Plyaz and Future Shock are pushing hip-hop in a new direction. We take from both worlds."

Finish this sentence: When I'm in Austin for this year's SXSW, I will …
Jones: "When I'm in Austin for this year's SXSW, I will drink Lone Star [beer] and pass out in the street with a smile on my face."

-- Introduction and interview by Chris M. Junior

The Constellations at SXSW (schedule subject to change):

* March 18:
6:50 p.m. – Malaia Lounge (Entertainment Weekly Lounge)
Midnight – Dirty Dog Bar (official SXSW showcase)

* March 19:
2 p.m. – Phoenix (DMX/Express showcase)
5 p.m. – The Ranch (Digiwaxx showcase)
2 a.m. – PureVolume House (The Syn/Taco Bell/Feed the Beat showcase)

* March 20:
3:30 p.m. – Cedar Street Courtyard (Filter magazine party)
8:15 p.m. – La Zona Rosa (WMEE showcase)

The Constellations on tour (schedule subject to change):

* March 22: Local 506 – Chapel Hill, N.C.

* March 23: Mercy Lounge – Nashville, Tenn.

* March 24: Drunken Unicorn – Atlanta

* March 25: Café 11 – St. Augustine, Fla.

* March 26: Club Downunder – Tallahassee, Fla.

* March 29: Thirsty Hippo – Hattiesburg, Miss.

* March 30: Spanish Moon – Baton Rouge, La.

Photo by Jennifer Tzar

One man's early leak of a new album is another man's staggered release. Singer/songwriter Matthew Ryan prefers the latter to describe the fall 2009 digital distribution of his latest, Dear Lover (Dear Future Collective), that preceded the mid-February arrival of the physical product in retail outlets.

Whether talking about the thought process behind the two-part release of Dear Lover, why he started his own label or explaining the story arc that runs through the new album, Ryan is not at a loss for words.

"If there was a drawback to releasing it digitally, well, I would only be guessing. So far, it seems to be helping to build momentum. Rather than a leak, though, I would refer to it as a staggered release, with our official efforts revolving around the Feb. 16, 2010, traditional in-store release. Admittedly, though, the staggered release has caused some confusion as to the actual release date. That's the only negative I can gather."

Dear Lover was released on your Dear Future Collective imprint. What were the reasons behind starting your own label?
Ryan: "Honestly, I got tired of feeling that my ambition and dreams were being compromised -- even downsized -- by some other entity's willingness to work or not work. Self-possession, conviction, work ethic and commitment are important elements to any success in any life.

"Monica Hopman, my partner in the DFC, and I are committed to making a case for my art over time without compromising or feeling that success or failure is measured solely by a week-to-week stock report. Again, our goal is to build it over time. Our mode is to attract people, not to sell to people. It's gonna take time, but we feel it's the right road.

"I also just wanted to have only myself to answer to as far as what I do creatively. Monica is a true advocate in that she never interferes with the creative process. Often, in the past, opinions would fly around and interfere with the distilling. I believe the best music and art in general comes from a pure place, where there's no doubt. So I guess on some level I'm trying to insulate myself from static that can undermine my intent as an artist.

"To be clear, though, I love the world and community and collaboration -- I just want to be able to limit the interference [and] make the purest music I can. And usually, that's a very singular process for me, like a photographer or painter."

Do you see yourself signing other artists to Dear Future Collective, or will it be strictly for your music only?
Ryan: "Personally, I would love to bring other artists into the DFC. But it's gonna take time for us to reach our goals and define our waterlines. Monica and I haven't really thoroughly discussed this. Our priority right now is to right my ship and correct some mistakes that have been made in the past. It's gonna take time, but we're up for it; we have plenty of patience and work ethic.”

"Spark" is a curveball of sorts when compared to what you've done in the past. Talk about your collaboration with DJ Preach on that song.
Ryan: "I've done things in the past that hinted at a track like 'Spark.' 'I Hope Your God Has Mercy on Mine,' off Regret Over the Wires, was scratching at that door. But Preach is an excellent and immersed trance DJ and producer. He did a great remix of 'American Dirt' off Matthew Ryan Vs. The Silver State that got some pretty good play in clubs in Europe and Canada last year. He really earned my trust with that, so it seemed only natural that we do more together.

"You see, my goal was to make an internal movie for lovers with Dear Lover. 'Spark' represents the collapse, the implosion even, of the space between the characters on Dear Lover. The production Preach created really adds to the manic sense of desperation, like a skidding car, out of control. It feels good to me, and it makes sense if you follow the arc of the story on Dear Lover. It's one of my favorite moments on the record. It's a car chase of sorts."

In May 2008, you included a copy of your last album, Matthew Ryan Vs. The Silver State, with every ticket sold for your concerts that month. What promotional efforts do you have planned for Dear Lover?
Ryan: "Well, with Dear Lover there are various things we're doing that are within our means to do. Most of it leans on creativity and the live show. We're trying to create an intimacy with Dear Lover. The live shows have reflected that, as have a collection of videos we've been releasing via YouTube called The Raw Version. Basically, they are solo versions of songs off Dear Lover recorded in various intimate locations. We also just collaborated with the great fine-arts photographer Jack Spencer for a video.

"But again, all of these efforts are an attempt to attract people to us. Music plays many roles in people's lives. All of those roles are important, be it escapism, anger, romance, reverence for the past, humor, heroism, politics, comfort and so on. I guess we're trying to carve a place for honest music – and, maybe in turn, [we can] turn people onto other music, arts and films. Hopefully, we can become a conduit of sorts."

-- Introduction and interview by Chris M. Junior

Matthew Ryan on tour (schedule subject to change):

* March 11: Tin Angel – Philadelphia

* March 12: Iota Club & Café – Arlington, Va.

* March 13: Drew's House Concerts – Ringwood, N.J.

* March 14: The Saint – Asbury Park, N.J.

* March 16: Eddie's Attic – Atlanta

* April 12: Cicero's – St. Louis

* April 14: Vaudeville Mews – Des Moines, Iowa

* April 15: Rochester Civic Center – Rochester, Minn.

* April 16: Sauce – Minneapolis

* April 17: Project Lodge – Madison , Wis.

* April 18: Schuba's – Chicago

* May 7: Memphis House Concerts – Memphis, Tenn.

* Jimi Hendrix -- Valleys of Neptune (Experience Hendrix/Legacy)

Each new posthumous Jimi Hendrix release makes it seem entirely possible that whenever the man plugged in his guitar, a tape machine was rolling to capture whatever he played.

These songs are by no means leftover late-night, never-ending jams – in fact, the restrained title track lacks a guitar solo, and in no way does the song suffer. While the Neptune renditions of "Stone Free," "Fire" and "Red House" don't top the original studio versions, they certainly add more proof that Hendrix was a forward-thinking artist who still had a way to go before reaching his artistic peak.

* Texas Tornados -- Esta Bueno! (Bismeaux Records)

Who better to take over for the late Doug Sahm in the Texas Tornados than son Shawn Sahm? After all, he has Tex-Mex music running through his blood, making him a natural fit to sing and play guitar alongside the remaining core of singer/pianist Augie Meyers and singer/accordionist Flaco Jimenez.

Esta Bueno! (available now) melds the past lineup with the current one, as the 13-track album (produced by Shawn Sahm) features songs and performances by his father and fellow late co-founding member Freddy Fender. That said, the qualities that made previous Texas Tornados releases enjoyable – most notably a good sense of humor and Jimenez’s carnivalesque accordion – remain at the forefront on this album. Highlights include "They Don't Make 'Em Like I Like," "If I Could Only" and "Who's to Blame, Senorita?"

* Old Man Luedecke -- My Hands Are on Fire and Other Love Songs (Black Hen Music)

At 34, banjo-strummin' Canadian Chris Luedecke isn't anywhere near the same age as Pete Seeger, but the folk legend is among the rootsy acts that are stylistic touchstones for the man who bills himself Old Man Luedecke.

My Hands Are on Fire and Other Love Songs (due March 16), Old Man Luedecke's follow-up to the Juno Award-winning Proof of Love, is a full-band effort with name-brand players, including bassist Keith Lowe and fiddle/mandolin player Tim O’Brien. While folk, bluegrass and Appalachian mountain music are at the heart of Old Man Luedecke's latest, there are some light rock 'n' roll touches that don't disrupt the big picture. With its steady beat and dry vocal, "Woe Betide the Doer of the Deed" could be a long-lost, easygoing Tom Petty recording, and there's a little bit of Roger McGuinn in Luedecke's voice as he sings "My Love Comes Stepping Up the Stairs."

* The Postelles -- White Night (Astralwerks/Capitol)

No wonder The Postelles were tapped to participate in the Who tribute show earlier this month at Carnegie Hall: This promising New York band has a punchy sound that tips its hat to very early Who material. There are serious shades of The Strokes in "Looking Glass," which is not a surprise considering Strokes guitarist Albert Hammond Jr. produced the three new songs on this EP (and the upcoming Postelles album as well). White Night also includes an iTunes exclusive remix of the song "Sleep on the Dance Floor" by Grizzly Bear's Chris Taylor.

-- By Chris M. Junior

Only time will tell if the rumored Kinks reunion tour will become a reality. Meanwhile, leader Ray Davies hit the road recently with a very capable band in The 88 backing him on classic Kinks songs.

The Los Angeles-based quartet may not be a household name, but its music has made its way into households nationwide via song placements in various network TV shows (such as CBS' How I Met Your Mother and NBC's Community) and through performances on late-night TV talk shows (among them Jimmy Kimmel Live! and Last Call With Carson Daly).

Singer/guitarist Keith Slettedahl recently talked about how The 88 landed the opening/backing spot on the Davies tour, the value of distributing music through TV shows, movies and commercials and what it was like for his band record an entire song using an Apple iPhone.

"Then we received an e-mail saying Ray wanted to hear a live recording of us doing some Kinks songs. We recorded the songs and I think two days later we got word that we had got the tour. Needless to say, I'm still pinching myself. It's so incredible. I really don't know what else to say about it."

Were there any songs from the Kinks catalog that proved to be a challenge for the band to learn?
Slettedahl: "So far, so good. The biggest challenge for me has been learning the Dave Davies guitar parts. I thought I knew a lot of the songs already but realized there was a lot more goin' on guitar-wise. But it's been a very fun challenge. We just keep picking songs to learn each time we get together."

Do you think song placement in TV shows, commercials and movies is the new terrestrial radio for today's acts in terms of reaching a wide, mainstream broadcast audience for free?
Slettedahl: "Song placements in TV, commercials and film have been a great blessing for us. We've been able to reach a lot of people, whether they're aware of it or not. I'm not really sure what radio is like now compared to what it was, but the whole TV placement thing is obviously a relatively new phenomenon. When we started out, we had no plans of getting our stuff into TV shows or film. I don't think we were even aware that world existed, but it's turned out to be our niche. Plus, I think mainstream radio can be so narrow and predictable, whereas, you can hear a lot of different stuff in commercials, film and TV -- and it reaches so many people who are actually listening to and inquiring about what they hear on the shows."

Talk about recording "Love Is the Thing" using an iPhone. Whose idea was it, and how long did it take to record? What were some of the technological challenges and advantages?
Slettedah: "We had discovered the four-track app on our iPhones and thought it would be cool to try it out when we were away from home. About a week later, an old friend who works for Apple approached us about recording a song on the iPhone, so it was perfect.

"We had heard small examples of short acoustic songs using the app, but no electric, full-band stuff. So it was just an experiment, and it was really fun and quick to do. Coming off making our last record, we were ready to do something simple and raw -- the total opposite of that record. The only real challenge was getting the vocals right because we did everything in the microphone built into the phone, so to sing dynamically was an issue. It was a challenge to get it to not peak out in spots. We had to use a piece of equipment that the iPhone hooks into (alesis pro track), and then we were able to control the level of the vocal. Otherwise, [it was] pretty easy. It was done in a day."

What are the band's plans following the tour with Davies?
Slettedahl: "Following the Ray Davies dates, we are planning on finishing a new record we had started before leaving. Also, we're planning on getting over to the U.K. at some point, so [there's] a lot of exciting stuff coming up. But for now, we're trying to enjoy this moment, playing every night with one of our idols. Stay tuned!"

-- Introduction and interview by Chris M. Junior

The 88 on tour (schedule subject to change):

* March 5: Scranton Cultural Center – Scranton, Pa. ++

* March 6: Webster Theatre – Hartford, Conn. ++

* March 7: Bardavon 1869 Opera House – Poughkeepsie, N.Y. ++

* March 8: Pianos – New York

* March 9: Broome County Forum – Binghamton, N.Y. ++

* March 11: Michigan Theater – Ann Arbor, Mich. ++

* March 12: Palace Theatre – Lorain, Ohio ++

* March 13: Riviera Theatre – Chicago ++

* March 14: 400 Bar -- Minneapolis

* March 15: Liberty Hall – Lawrence, Kan. ++

* March 17: Palladium Ballroom – Dallas ++

* March 18: La Zona Rosa – Austin, Texas/SXSW (9:30 p.m. original material showcase; 10:30 p.m. with Davies)

* March 19: The Shadow – Wichita, Kan.

* March 20: Paramount Theater – Denver ++

* March 21: Mike’s Music Exchange – Eldorado, N.M.

* March 22: Hotel Congress – Tucson, Ariz.

* March 23: Arizona State University – Tempe, Ariz.

* March 23: Dodge Theatre – Phoenix ++

* March 24: The Grove of Anaheim – Anaheim, Calif. ++

* March 25: Canyon Club – Agoura Hills, Calif. ++

(++ = dates with Ray Davies)

For his daring all-covers album, Scratch My Back (EMI), Peter Gabriel reworks classic as well as lesser-known works, and the former Genesis frontman does so with good intentions.

The end result is a grand success and noble failure at the same time.

On Scratch My Back, though, the songs are stripped bare, then coated in an orchestral bath that is in most cases majestic and in others pedestrian and distant. John Metcalfe, a noted violinist (and ex-member of the punk group Durutti Column), was enlisted to compose and arrange the strings; Bob Ezrin and Tchad Blake were picked to produce and engineer the tracks.

The minimalism puts the spotlight on the lyrics of the songs without the inclusion of guitar and drum arrangements. And this is the fly in the ointment. Enhancing the lyrics is the measure of the song, and a reinterpretation of the song can often infringe on the intent of the composer. But somehow, in most cases, Gabriel makes it work wonderfully considering the limits he has placed on himself.

Gabriel's interpretation of David Bowie's "Heroes" begins quietly, with a fragile vocal comparable to Roger Waters' disquieting readings on The Final Cut. One of the signature marks of the original tune is Robert Fripp's shimmering guitar, replaced by a wall of vibrating strings and a thumping bass line.

The album's highlights include a rendition of "Listening Wind" by Talking Heads. Written in 1980, this timeless story is a disquieting portrait of a lonely Middle Eastern boy whose alienation turns him into a suicide bomber. This song could have been written yesterday.

Neil Young's "Philadelphia" is one of those rare songs that approach John Lennon's "Imagine" in quiet grandeur. For his version of "Philadelphia," Gabriel infuses the arrangement of strings and tempered horns with a heartrending quality that elevates Young’s dreamy lyrics into the stratosphere.

The cover of Elbow's "Mirrorball" might best be described as George Gershwin meets Pink Floyd. One almost imagines Gene Kelly in Paris spinning against a painted plywood cityscape as strings wind a web around a moon painted by Gerald Scarfe. Arcade Fire's "My Body is a Cage" (like Gabriel’s own "Here Comes the Flood") is a mournful tune that starts off slowly and then builds to a crescendo that seeks to spring open the kingdom of heaven.

There are some reservations here. Randy Newman's quirky edge is missing from Gabriel's innocuous rendering of "I Think It's Going to Rain Today." After hearing this, one may want to hurry to listen to the original. Radiohead's "Street Spirit (Fade Out)" is not overshadowed here by Gabriel's raspy vocals; Regina Spektor's "Après Moi" is given a lukewarm presentation, as is a take on "The Book of Love" by The Magnetic Fields.

As with many highly touted releases, Scratch My Back is available in a standard 12-track disc and a special two-CD edition with three remixes and one additional cover tune -- a spirited handling of The Kinks’ "Waterloo Sunset." (The artists represented on Scratch My Back will reciprocate by doing covers of Gabriel's songs on a forthcoming CD called I'll Scratch Yours.)

Overall, Scratch My Back is an intriguing project from a consummate performer and perfectionist that will not disappoint Gabriel’s legion of fans who expect nothing less than novelty from him.

-- By Donald Gavron

Jet-black dyed hair, long sideburns, frenzied performances, flashy clothes, innovative music, mediocre movies -- when Elvis Presley's name is mentioned, these are some of the things that immediately come to mind.

But don’t forget about freedom of expression, censorship and massive media exposure.

In its exhibit Elvis! His Groundbreaking, Hip-Shaking, Newsmaking Story, the Newseum in Washington, D.C., takes an all-encompassing look at Presley's personal life, career and overall impact on popular culture.

Paulson is quick to point out that the Newseum's Presley exhibit, which is scheduled to open March 19, tells a different story from the one at the late entertainer’s Graceland mansion in Memphis, Tenn.

"It's really about Elvis and his impact on America and his coverage in the news media," Paulson explains. "Long before there was the kind of celebrity coverage there is today, Elvis was getting that level of attention. The National Enquirer was all over Elvis long before there were tabloids everywhere. When [daughter] Lisa Marie was born, when [wife] Priscilla divorced him and when he got fat, the press – particularly the tabloid press – was all over him. So in some ways he inspired a certain kind of journalism that is still with us today.

"And then you go back and look at the original newspapers and magazines covering his career, it's really astonishing," Paulson adds. "There was so much concern that Elvis was going to cause riots or lead young people down the path to disgrace. When you look at this footage today, it's pretty tame."

The Newseum exhibit will feature Presley recordings and video footage, newspapers, magazines as well as rare photos and a variety of clothing and other personal Presley items.

"One of the most amazing things to me is the federal narcotics badge that [President Richard M.] Nixon gave to Elvis, as well as the coat and belt Presley wore at the White House," Paulson says.

The exhibit also includes a number of items that have rarely or never been shown to the public, including Lisa Marie’s footprint that was made at the hospital after her birth and scrapbooks chronicling Presley's rise to fame that were assembled by his longtime manager, Colonel Tom Parker.

"When Priscilla and Elvis got married, they autographed a champagne bottle for Elvis' parents, signing it Mr. and Mrs. Presley – no one's ever seen that," adds Paulson.

Paulson has given serious thought to scheduling special guests and events during the exhibit's run.

"We would love to have [Presley guitarist] Scotty Moore here … [Presley biographer] Peter Guralnick would be on our short list," he says. "So we will do programming here, and it will largely be about the music and the cultural impact."

Elvis! His Groundbreaking, Hip-Shaking, Newsmaking Story will be on display at the Newseum through Feb. 14, 2011.

-- By Chris M. Junior

Sam Moore doesn't dance around the stage anymore like he did during his Sam and Dave days, but he remains a passionate singer with a voice that's hard to find in today's soul and R&B.

Moore gets up close and personal with Nick Ashford and Valerie Simpson

Ryan Shaw made the most of his opening slot.

-- Photos by Chris M. Junior

When April Smith needed money to record a new album, she turned to the fans. Not in a folkie pass-the-hat way or by employing public broadcasting-style pleading from the concert stage. The singer hooked up with Kickstarter.com, a fan-funding site that helps artists and creators reach their predetermined financial goals for specific projects.

Thanks to more than 200 backers, Smith not only reached her dollar goal in a two-month period, she surpassed it.

She also scored those high-profile gigs without having a new album to promote. Thanks to her Kickstarter.com experience, the Toms River, N.J.-raised, Brooklyn, N.Y.-based Smith now has the 11-track Songs for a Sinking Ship in the can and ready for release on Feb. 23.

Smith -- who's currently touring with her band, the Great Picture Show -- recently talked about her throwback sound, her experiences with Kickstarter.com and Souther as well as the Brooklyn and Jersey Shore music scenes.

Medleyville.us: A lot of the tracks on Songs for a Sinking Ship sound like they belong in a stage musical. Where does your showtune/cabaret influence come from, and did you have a serious interest in a theater career growing up?
April Smith: "I was into theater in high school and actually started out started out as a musical theater major in college, so I think it definitely creeps into my writing. I liken my songs to little movies sometimes. I've always loved the overly dramatic feel of old Hollywood films, and that's a big influence in my music. I guess having a big, fun live show helps me scratch that musical theater itch and I get the best of both worlds."

Talk about your experience with Kickstarter.com -- how you heard about it, any doubts you may have had at first and if it's something you'd consider using again.
Smith: "Kickstarter was absolutely incredible! In my opinion, it's the best way for an independent artist to fund a project. It definitely brought me closer to my fans and really helped me see how dedicated they are to supporting my music.

"I found out about it when my bassist sent me a link to Allison Weiss' EP project. She inspired me to start my own project with Kickstarter. My managers and I figured out what a reasonable goal would be and then we sent it out to the fans. I hoped that we would make the goal of $10,000, but I was really blown away when we raised a total of over $13,000!

"I would absolutely use Kickstarter again, and I recommend it to artists all of the time. The people who developed and run the site just know what they are doing and really nurture the projects they host. I'm really grateful that I got to work with them."

How much did you interact with JD Souther when you toured together, and did you learn anything valuable from him either through conversation or observation?
Smith: "JD and I were very close on tour. We hung out a lot, and he really took good care of me. JD is an incredible storyteller and a magnificent performer. He sang the same songs every night, but they sounded completely new each time. I took a lot of cues from him, and it's definitely helped me grow as a writer and performer.

"I think he taught me how to really connect with the audience. I've been spoiled with the best tour mates, honestly. First JD, [then] Langhorne Slim -- and it's cool because I see similar qualities in JD and Sean, a.k.a. Langhorne. Sean has got this unstoppable charisma, and there hasn't been a night where he hasn't had the audience eating out of his hand. His band is ridiculously tight and they all complement each other so well. I hope we get along with Fanfarlo as well as we have with these guys."

Compare and contrast the music community in Brooklyn to the one at the Jersey Shore. Is one more united than the other? And would you say one is more diverse than the other in terms of style, genres and sounds?
Smith: "I think the Brooklyn and Asbury Park music communities are actually very similar. I think Brooklyn's scene is just bigger. Asbury musicians are really supportive of each other, and so are artists from Brooklyn. I think that when you have an area as big as Brooklyn, there are just smaller communities of one or several genres within that vast musical community. I think it's a little harder to get noticed in NYC and Brooklyn, just because it's a big sea here. I'll always favor the Asbury scene though -- it's where I came from."

-- Introduction and interview by Chris M. Junior

April Smith and the Great Picture Show on tour (schedule subject to change:

* Feb. 22: Great American Music Hall – San Francisco (with Fanfarlo)

* Feb. 23: Doug Fir Lounge – Portland, Ore. (with Fanfarlo)

* Feb. 24: Crocodile Café – Seattle (with Fanfarlo)

* Feb. 25: Knitting Factory Concert House – Spokane, Wash. (with Fanfarlo)

* Feb. 26: The Record Exchange (in-store) – Boise, Idaho

* Feb. 27: Urban Lounge – Salt Lake City (with Fanfarlo)

* Feb. 28: Larimer Lounge – Denver (with Fanfarlo)

* March 10: Mercury Lounge – New York

* March 13: Rock & Roll Hotel – Washington, D.C.

* March 15: The Earl – Atlanta

I'm still in a most list-ful mood, but this roundup certainly wasn't a very easy one to compile, I'll have everyone know. The pickins were extremely, uh, thin, to say the very least.

Nevertheless, here are my Top 19 from the 1990s:

2. Cowsills -- Global (1998)
America's once-and-forever First Family of Song leaves no Partridge unspurned.

3. Brian Wilson -- Sweet Insanity (1991)
Just to make sure the '90s weren’t all Pet Sounds reissues.

4. Dave Rave Group -- Valentino's Pirates (1992)
Wherein the former Soviet Union signs its first Western act, then promptly dissolves.

5. Johnny Cash -- American Recordings (1994)
Rick Rubin produces a Cash we thought only Sam Phillips could.

6. Tiny Tim -- Rock (1993)
This includes possibly definitive readings of "Eve of Destruction" and "Rebel Yell" (I kid you not).

7. Puffy -- Jet CD (1998)
Oh-so-effortlessly crosses ABBA, Black Sabbath and Who's Next … and all by way of Jellyfish.

8. Monkees -- Justus (1996)
Those Prefabs go out on a very high note (which, I'll have you know, they played all by themselves).

9. Shane Faubert -- San Blass (1993)
The former head of The Cheepskates most definitely goes for baroque.

10. NRBQ -- You Gotta Be Loose (1998)
Proof very positive: The greatest live rock 'n' roll band in the world.

11. Evaporators -- I Gotta Rash (1998)
Before Ali G and most definitely Tenacious D.

12. Neil Young -- Arc (1991)
Truly too cool -- not to mention loud -- for (many) words.

13. Go-Nuts -- The World’s Greatest Super Hero Snak Rock and Gorilla Entertainment Revue (1997)
For once, the title says it all.

14. High Llamas -- Gideon Gaye (1994)
More than filling that cavernous sonic gap between SMiLE and the XTC reunion.

15. Blue Shadows -- Lucky to Me (1995)
Hank Williams visits The Cavern by way of Big Pink.

16. Mojo Nixon -- Gadzooks!!! (1997)
Includes "Bring Me the Head of David Geffen" … and then some.

17. James Richard Oliver -- The Mud, The Blood and The Beer (1998)
Alt-country with a capital "Oh!"

18. Chesterfield Kings -- Surfin’ Rampage (1997)
Upstate New York's finest give their Rolling Stones cloning a rest whilst hanging all 10.

19. Jandek -- Twelfth Apostle (1993)
So many Jandek albums, so little space.

Musician/writer Gary Pig Gold is the co-founder of the To M'Lou Music label.

In the months leading up to his death in September 2003, ailing country icon Johnny Cash recorded the final album of his acclaimed Rick Rubin-produced American Recordings series. Medleyville's George Henn and Mike Madden have the lowdown on The Man in Black's last effort, American VI: Ain’t No Grave, which is due Feb. 23 -- three days before what would have been Cash’s 78th birthday.

In listening to American VI: Ain't No Grave, however, it is even harder this time to shake the idea that it is in many ways a glimpse into Cash's final days and that his legendary baritone would soon be silenced. He somehow sounds more weathered and weary, even short of breath at some points. Perhaps it's just that these are just inferior vocal takes as compared to the tracks that made up A Hundred Highways, but Cash's voice has never sounded so frail, and at many moments here I'd imagine his audience will suffer right along with him.

Mike Madden: After the first listen, the impression is clear that producer Rick Rubin intended to use these as the final set of songs. Not only are the vocals weathered but the actual tracks are very sparse. The American Recordings series is largely acoustic-based, and this final volume brings the series full circle by harkening back to 1994's Vol. I, which was a collection of songs that were not hits for other artists, and the recordings featured bare-bones instrumentation. However, when there is some percussion featured, it's done to complement the musical theme, as in the rattling and dragging chains on the album's first track, "Ain't No Grave (Gonna Hold This Body Down)."

Henn: True, the sparseness of the arrangements puts Cash's voice out front, for better or worse. His vocals are so feeble on that opening track that it doesn't quite end up as the song of defiance it was intended to be. Later, on his version of old buddy Kris Kristofferson's staple "For the Good Times," Cash's weakened voice is actually an asset in a sense, as it helps transform the song; it sure sounds like Cash is reflecting on his life, rather than a relationship ending. Again, maybe I'm reading too much into the circumstances of Cash's life and health when it comes to the songs he selected for his final recording sessions, but that's my basic point: How can one not let that thinking enter the picture when listening to this album?

Madden: And that is exactly what's wrong with this final chapter. Did it need to be done? I say no because now it's bordering on exploitation. There will a lot of attention paid to the album and for all the wrong reasons. The uneducated listener who may have discovered Cash's classics after seeing the movie Walk the Line may give this a listen, thinking that this is some lost classics album, and get the absolute wrong impression of Cash's music. The Johnny Cash historians, although they know the full story, will no doubt agree that this should have been left off the discography, not for lack of history but just because it's better left unreleased.

Henn: I have to agree, as I don't see what this disc accomplishes that the previous one didn't, although I'd be remiss not to mention the one real intriguing twist at the album's end: Cash, knowing he lacks the pipes to do such a melodic number justice, tackles the famous Hawaiian standard "Aloha Oe" anyway. On the final track of what is being billed as -- finally -- his last album, Cash, playing the outlaw to the end, is saying "Aloha," or goodbye, with all his limitations laid bare in that vocal.

That highlight aside, American VI is decent enough but unnecessary; American V was a fitting enough send-off and had already expressed the idea that Cash was at peace with his life and times and, drawing upon his deep Christian faith, looking forward to a place in heaven. If there indeed "ain't no grave" to hold Cash's body down, here's hoping that, as we approach the seventh anniversary of his death, someone or something will at least hold his catalog output down.

Madden: Absolutely true. The album isn't a bad effort, and I even feel there is historical significance in doing a posthumous album. However, you're not converting anyone with this one. That said, if you are a Cash fan, this is worthy of a listen or two, if for nothing but the historical aspects (and to hear "Aloha Oe"). Johnny Cash has left an extremely prolific body of work behind, and now that we've dug out the crates, let him remain the icon that he is, not the running gag that can result from too much afterlife activity.

As the follow-up to 2008's Mockingbird, a collection of mostly cover songs, singer/songwriter Allison Moorer is set to release Crows, her first album for the Rykodisc label, on Feb. 9.

Moorer recently talked about how her craft has changed since recording Mockingbird, her working relationship with longtime collaborator R.S. Field (who produced the 13-track Crows) and the influence her husband, Steve Earle, has had on her guitar playing.

Recording your new album, Crows, took only four days. Was getting it done that fast the original plan, or did the sessions go so smoothly that you were able to finish sooner than anticipated?
Moorer: "I was very careful about how I cast all the roles, from the producer to the players to the engineer and second engineer, to the studio I recorded it in. I wanted to make myself as comfortable as I could be and, at the same time, make sure I had the people that I knew would 'get it' around me. I'm happy to say that it worked out the way I thought it would. We were able to get my vision down very quickly. Plus, no one has the budget to stay in the studio for very long these days."

Is there something behind the naming of your most recent albums after birds, or is it just a coincidence?
Moorer: "Coincidence. Although I love birds, am fascinated by them and think they are very smart and mysterious."

Talk about your longtime working relationship with R.S. Field. Given that he produced Crows and also played drums on the album, was special attention given to the rhythm and groove of each song?
Moorer: "R.S. and I have a way of communicating that works. I didn't want any guesswork to do on this one, which is one of the reasons why I hired him -- I knew I wouldn't have to explain myself. Plus, he's just really great at what he does. He did pay special attention to the grooves and rhythms; he spent a while working on the songs before I even got to Nashville."

In a 2006 interview, you described your guitar playing in one word -- terrible. Do you still feel that way? And since then, how has your husband Steve helped you to improve your guitar chops?
Moorer: "I still don't consider myself to be a very good guitar player, but I work hard at it and have improved over the years. You have to be very dedicated to it to even come close to figuring it out. I have definitely picked up a few things from Steve, but mostly he's helped me by telling me that I am, in fact, a good player -- and confidence counts."

-- Introduction and interview by Chris M. Junior

Allison Moorer on tour and TV (schedule subject to change):

* Feb. 8: Joe's Pub – New York

* Feb. 9: Barnes & Noble (Lincoln Triangle location) – New York

* Feb. 10: CBS' Late Show With David Letterman

* Feb. 13: Midnight Ramble – Woodstock, N.Y.

The road can really make or break a band, no matter how long the act has been around or the length of the tour.

Just a few years after forming, Barefoot Truth embarked upon a weekend trip in spring 2007 that wasn't exactly a Spinal Tap adventure, but it did prompt everyone to think long and hard about future touring.

"To drive 30 hours for two shows, only to return to final exams, is one way to burn yourself out," Evans says. "To us, that will always be the scariest part of being a touring band -- burning out. We see it all the time with bands at our level. To us, there is no reason to force the issue. When a tour makes logistical sense, it gives you a better sense of purpose. Otherwise, you're just driving back and forth like a chicken with its head cut off.

"We all know that when the band morale is down, the music suffers, and our goal is to put on a good show for people."

Tours have been much broader and more structured since then for the rootsy quintet. Last year, Barefoot Truth played in Virginia, Minnesota, Wisconsin, Colorado and Wyoming for the first time.

When they're not on the road, all five members live together under the same roof in Mystic, Conn.

"We are friends first," Evans says, "and even if we weren't in a band, there's a good chance some of us might still live together."

One of the positives of this arrangement, he says, is the ability to bounce ideas off one another all the time.

"The minute you come up with a new song, you can start adding everyone's two cents to it," he adds.

Like every independent artist, Barefoot Truth is looking for ways to reach listeners, and one avenue that’s helped increase the band’s fan base is the Internet radio site Pandora. Barefoot Truth has racked up a reported 4.5 million spins on Pandora, with most of those plays being for the songs "Roll If Ya Fall" and "The Ocean" (from the 2005 album Changes in the Weather), according to Evans.

That stat bodes well for the potential interest in the new Barefoot Truth album, Threads, due Feb. 16.

"I think Pandora is really like the new Napster," Evans says. "It's the most accessible way for indie artists to get free promotion of their music. We've always been an advocate of burning our music; we'd rather have more people hear the music than not at all. The hope is that they'll like what they hear enough to go buy it on iTunes or come see us live."

-- By Chris M. Junior

Barefoot Truth on tour (schedule subject to change:

* Feb. 6: The Dragon's Egg -- Ledyard, Conn.

* Feb. 12: Cafe 939 – Boston

* Feb. 13: Cafe 939 -- Boylston, Mass.

* Feb. 18: One Longfellow Square – Portland, Maine

* Feb. 19: Higher Ground – Burlington, Vt.

* Feb. 20: Pearl Street Ballroom – Northampton, Mass.

* Feb. 21: Fairfield Theatre – Fairfield, Conn.

* Feb. 24: Castaways -- Ithaca, N.Y.

* Feb. 25: FunkNWaffles -- Syracuse, N.Y.

* Feb. 26: Red Square – Albany, N.Y.

* Feb. 27: Highline Ballroom – New York

* Feb. 28: Triumph Brewery – New Hope, Pa.

When making their first albums, American Idol winners and high-placing runners-up tend to rely heavily on outside material, just like they did when competing on the Fox series.

Katharine McPhee finished second to Taylor Hicks on Idol in 2006, and she released her self-titled debut album the following year. True to form, it was dominated by songs written by others.

Unbroken (Verve/Forecast), released Jan. 5, is a different story: McPhee had a hand in writing half of the album's 12 official songs (a version of Melanie's "Brand New Key" is listed as a bonus track).

"At first I thought, 'But I am not making a country record,' " McPhee recalls. "But Mr. Morris gave me a couple of examples of songs that came from Nashville that were huge pop hits. Nashville is a place where writers really want to tell stories and write lyrics against real instruments. It is a little different from, not better or worse, but just different from more producer-driven music. I wanted to make a record with a band of musicians: all of us in the studio together, creating together. I did not want to come in and sing to tracks that had been created. Nashville and their writers helped me realize this."

McPhee admits to being intimidated at first. There she was in the same room with Luke Laird (who has co-written songs recorded by Rascal Flatts and Tim McGraw) and Chris Tompkins (a co-writer of the Carrie Underwood hit "Before He Cheats"). Hillary Lindsey, whose material has been recorded by Underwood, Martina McBride and Sara Evans, was pitching music to her.

"Once I settled [in], I realized that we are all human, just trying to tell simple little stories," McPhee says. "I learned that they work really hard every day sitting at a piano or with a guitar and try to tell stories. I learned that it is OK to fail a lot because every so often something comes out of you that you may not have realized without going through the process. I also learned how to have a lot of fun in a session and that, in the end, [making music] is not brain surgery."

Unbroken also gave McPhee the chance to collaborate with some notable artists.

As for Rachael Yamagata (a co-writer of the Dido-esque "Keep Drivin' "), McPhee says, "She was a friend of the producer [John Alagia]. I had written the entire song with Chris Tompkins in Nashville. The entire song was done and the melody and bridge were all there. We had come up with temp lyrics for the verses, and I had come up with the choruses.

"Once I got in the studio," she adds, "everyone on my team thought it was a great song and that we should go back and try to come up with more lyrics for the verses. That is when Rachael was asked to come in and help. I loved the lyrics she came up with."

Singer/songwriter Ingrid Michaelson played a key role in writing the ballad "Surrender" with McPhee and Marshall Altman.

"I had met Ingrid at the Hotel Cafe in L.A., and we both had a mutual respect for each other," McPhee explains. "So with Haagen Dazs ice cream in hand while staying at a friend's apartment in New York, we got together for a couple of nights and just started fooling around with song ideas.

"She is a lot of fun to write with. On this song, there were actually a couple of different song ideas that we had been working on together and then they ended up melding into one song. It was a very cool process.

"Collaboration is an interesting thing. Some people you can hit it off with and others you don't. Sometimes there is an existing melody or some lyrics and other times there is not. However, in the end, when something comes out of a session, you look back and for that moment in time, it was meant to be."

-- By Chris M. Junior

Why Elvis Presley?

I mean, why should anybody, anywhere, care anymore?

Well, first of all, if it hadn’t been for Elvis, we simply wouldn't be sitting here reading this right now. Really!

Think about it: If you like, write or think about, and/or make rock 'n' roll music, Elvis – indirectly or not – is the reason why.

Huh! He's right, of course.

Sure, there were Hank Williams and Chuck Berry, not to mention Jimmie Rodgers and Jimmy Reed, Bill Haley and James Brown, lest we ever forget Bill Monroe and Ray Charles. In other words, two mighty musical rivers they called C&W and R&B, flowing strongly – but separately – cross their chosen ways o’er this great wide land of ours.

Certainly it was only a matter of time before those waters were forever after intermingled to surge forward as one unstoppable force, deep, strong and pure. But for those who simply think it was Elvis' first recordings for the tiny Sun label in A.D.1954 (downright bizarre, and for their time near-blasphemous, readings of Arthur Crudup's "That's All Right" and the aforementioned Monroe's "Blue Moon of Kentucky") that bridged those two waters – just the inevitable musical accident waiting to happen, as it were – then think again:

Elvis' first record was, in fact, the sweat-soaked, blood-stained result of unimaginably fraught months spent searching for that ever-elusive, brand new, and (this was the scary part) colorless "sound." Just listen to how painstakingly Elvis and his brilliant accompanists, Scotty Moore and Bill Black, lunge toward that tantalizing, all-encompassing, hitherto uncharted "sound." They made recordings that form no less than the blueprint upon which every musical thought of the past half century is inextricably based.

Here was a man who damn well wore his fingers, and his band, to the very bone in order to break out of the South (off of Sun and onto RCA, too, by the way) in his quest upwards and onwards toward global stardom and damn-near universal immortality. Indeed, here’s one boy who unfailingly "yes ma'am"-ed and "no sir"-ed all the right people, deigned to sing at a hound dog (not to mention kissed Ed Sullivan's black and white ass) in order to get himself, and his wonton moves, onto TV. And in doing so, he spread his beautiful madness irreparably and irrevocably around the globe … only to seemingly toss it all away and spend the entire 1960s doing time on the silver screen while his protégés in all their manifest forms (Bob Dylan, the British Invasion, even Jimi Hendrix) took over the public airwaves. For a while, anyway, that is: One hour of prime time just before Christmas of '68 was all it took for Elvis to forever regain his throne.

Naturally, as all martyrs to their various causes must, Elvis ultimately sacrificed himself and his career upon the unforgiving altar of public opinion, heading way down just as his ex-posse were nailing him to the cross with their sordid little book Elvis, What Happened? For most out there, all that soon remained of our hero was the bloated, pill-bellied National Enquirer cover boy who seemed content to sweat, mumble and at times even "moo" his way into the realm of truckstop immortality (witness, if you must, videos of his final concerts of 1977: gut-wrenching and ultimately heartbreaking footage of apocalyptic artistic decline).

However, despite this most bitter of ends, there’s really not that much needed to say when looking at this man's life and career, from Tupelo, Miss., to Hollywood, Calif., and all the way back home again. That’s because, you see. he really was The One. There’s never been another like him. There never will be. In fact, there honestly doesn't have to be anymore, does there? He did – and, most importantly sang – it all. For me.

Even for you.

-- Musician/writer Gary Pig Gold is the co-founder of the To M'Lou Music label.