By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
Island is planning on rereleasing White Trash Receptacle, originally issued last year on Aden Holt's One Ton label, at the end of March with a few changes: Liles is deleting "The Dread Song" and the untitled 10-minute instrumental at the end (he might also take off "The Economy of Used CDs" for practical purposes), and he plans on adding two or three recent and unused tracks. There will also be a radio edit of "Hoops" with a few minor language changes (no more "fuck").
The album's due date will coincide with the release of two videos, "Hoops" and "Me and My Last Four Bucks/Ugly People," that will likely air on The Box and perhaps MTV. The videos basically make up the first 10 minutes of Enable Me, which Liles says he plans to finish by July.
"The whole point of getting these videos out is to make people want to see the movie when it comes out," Liles says. Ironically, Liles was on Island once before--in the late '80s, as a member of Decadent Dub Team. It was Island that released the Liles-assembled Sounds of Deep Ellum compilation in 1987, a record Dallas is only now beginning to live up to...and live down.
Ingram's new deal
Jack Ingram has in his possession a copy of his CD Live at Adair's--a beautiful package, he beams, right down to the famous Warner Bros. logo stamped on the back. But Jack Ingram is the only person who will ever own that CD. When Live at Adair's is released in mid-February, it will have on its packaging the logo of Crystal Clear Sound--the same local label that has manufactured and distributed his two previous albums.
"I showed my mom the album with the Warner Bros. logo on it," Ingram says from his San Antonio home, "and she started laughing."
Ingram, the former local folkie-turned-country boy, was not dropped from Warner Bros. Despite reports that he had signed with the label's Nashville subsidiary (in these pages, among other places), Ingram never actually put a pen to the contracts that were already drawn up and finalized. Ingram insists he backed out of the "done deal" of his own volition: Instead of going with Warners, Ingram is now in the final stages of negotiating a deal with a label called Rising Tide, a newly formed subsidiary of MCA Records--which happens to be run by Ingram's manager, Ken Levitan, co-owner of VSOP Management.
Live at Adair's--which Ingram recorded at the Deep Ellum burger joint last summer with a back-up band that included Mitch Marine, Chris Claridy, Pete Coatney, Reed Easterwood, Milo Deering, Jim Richmond, and Al Mouledous--will now be issued in February. Crystal Clear Sound will handle manufacturing and distribution, and Rising Tide will take care of radio and press promotions. Ingram will likely sign to Rising Tide in the next couple of weeks and record his studio debut this fall, he says.
"This whole thing was a weird introduction to the music business," Ingram says. "I had a deal with Warner Bros. and felt pretty secure, and then, whoa!, a couple months down the road, I'm going, 'Fuck, I guess things aren't so secure...Not to put myself down, but I'm young and just learning how to write and do things, and it turns out the longest route and the slowest route is now the best route."
Brave Combo's 1995 Polkas for a Gloomy World has been nominated for a Grammy--in the polka category, oddly enough.
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