by Stephen Sparks

I was there. I've been covering Austin music for MauiTime Magazine (yes, in Hawaii -- also on the World Wide Web). Last article was on Antones -- it felt like I had a scoop (picture of me with Clifford on the Web) just in time.

I can't give you a hometowner's report, but things seemed to go well (main complaint: not enough porta-potties). From all indications the two stages worked -- they volleyed back and forth, hailing the finishing performers on one stage and reeling the crowd in for the next. About 7,500 people showed up. Others who didn't have to see (or want to pay $20+) parked themselves outside the fences.

Though Pete Mayes (veteran of the Gatemouth Brown and Junior Parker bands) turned in a fine CD last year (For Pete's Sake -- Antone 10040), I unfortunately missed his show. The Scabs were on the main stage when I arrived. Plenty loud, plenty of energy. If you've been in a cave, the nine-piece show band is an R-to-X-rated act, with some funny, tightly-knit arrangements celebrating (among other party topics) female anatomy. College stuff, but an excellent band any way you stack it. Blues? Maybe not.

Lou Ann Barton is a consistent singer/entertainer, turning in a solid performace. I particularly like her guitar player -- one of the smoothest and well-versed I've heard here.

Susan Tedeschi is probably the talk of the town by now. She has scooped Double Trouble as her rhythm section for an upcoming tour, delivering roots blues vocals and guitar licks with, well...balls! The crowd loved her. She looked great and performed with personality. Jimmie Vaughan and Buddy Guy called her on stage during their sets, and John Lee Hooker could be heard repeatedly saying: "Where's the girl with the guitar? Bring out that girl with the guitar!" Tedeschi somehow missed that historical cue.

South Austin's Toni Price, next on the local stage -- always a delight -- with the boys: 'Scrappy' Jud Newcomb, Champ Hood and Casper Rawls. There are moments when she just glows like an angel..."Nothing Can Be Done"!

Jimmie Vaughan's band was tight and exuberant and the hometown hero seemed to be enjoying himself. I didn't catch (what seemed to some) an eerie orb of emotion, when a StarFlight helicoptor passed over the stage, on its way to its moorings next door at the hospital. Missed it...but I got it later. He closed with "Tick-Tock-Tick...Time Slippin' Away," leaving us with a warm, hometown hum in our souls.

Guy Forsythe continues to grow out of the blues but never forget them. Like his new album, his performances are sharp, his energy and smile infectuous.

Showtime! Yes, I stood my ground and got to watch John Lee from about 15 yards back. So, here's my report: I think the band was too young (what the heck was it, then?) to do the ol' fella justice. I'm not the only guy who wanted to hear John Lee do HIS thing. You know, we wanted to hear HIS guitar sound, his style of playing. But what we HEARD was the band's massive electric sound, grinding out recognizable changes. Except that they didn't seem to always be the changes the "Boogie Man" was layin' down. More than once, he seemed frustrated at the machine rolling over his legacy, throwing his hands and eyes up in submission. Even when he called out to share a moment with "the girl wit' da GIT-tah," he couldn't seem to bring the fates under his control. But there he was, real as the blues that brought him there -- once in a lifetime, for a guy like me. (Blue socks matched his shirt -- cool shoes!) Too much electronics, too little communication because of it, for my part. The man has MORE than a story to tell, and although it was amazing just to watch him (to SEE him!), I would have liked to have heard (and felt) more of HIS story than the power of his players. A downside of the times. Nevertheless, an historical event of great gravity. His blond (and pretty) Hammond organist/pianist highlighted the very proficient lineup.

'Missed the Young Guns, holding ground for MY man. I first saw Buddy Guy 30 years ago in the nation's Capitol. Having hung around Jimi Hendrix for a few days (on The Experience's first visit to D.C.), I personally always looked to Buddy as the genuine article. Even back then he had such fluidity, style and fire. I found his show at Waterloo Park as exciting and joyful as any I've ever seen, by anyone, anywhere. He was barely getting warmed up, after he had whole crowd singing verses to "Hoochie Coochie Man," when the 10pm curfew hit ("I don't WANT to stop..."). And he played some great Hendrix licks ("I can do all this other shit too, ya know..."), as well as some signature Stevie Ray.

Many times throughout the proceedings, the artists and promoters would acknowledge Clifford Antone, for his love and support of the blues. As an outsider looking in, I have to agree with that sentiment. Whatever else he is, Antone is the consummate blues fan and host to his brethren in the blues. He's got style, and I love it! Congratulations to Charlie Jones and the staff of Antones for a fine step forward into blues history.