Customer Reviews

Live in Aught-Three

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We went and saw McMurtry with his current touring band, the Heartless Bastards, live at Iota in Arlington a few months ago, and I was disappointed. Not with McMurtry, but with the venue. I doubt he was disappointed with it, as he seems to favor the more rough and ready sorts of places in his live shows than the sit-down and contemplate the ironies of life that I had imagined from his studio albums. Listening to the same songs afterwards (I bought this CD after the show and had McMurtry sign the infold), I have to admit that I like his rawer sound better than the produced, but I still recall wishing that I had had a chair during those three hours of the show.

You can't mention James McMurtry without also mentioning that he is the son of the slightly more famous novelist, Larry McMurtry. You probably knew that. What you may not have known is that Larry used to run a used bookstore in Georgetown and that James actually grew up in Virginia, before Larry took the money he made from his successful novel career and bought a bookstore that he now runs on the side in a small town in Texas. It is this strange connection between the rural and the urban that provides the fuel for James's sarcasm, which is thicker than his Texan drawl, and it also makes his music wonderfully complex. Unlike those big hat country artists who idealize life outside the cities, McMurtry loves it and hates it at the same time. Like his father, he writes stories and character portraits that are realistic and yet indicative of larger meanings.

For example, back-to-back on this album are the songs "Out Here in the Middle" (as in middle America or the Heartland) and "Choctaw Bingo." The first song underscores the negatives of city life, where you have to have reservations and lock your doors, as opposed to a life next to the diner where there's always a spot at the counter and (supposedly) no one steals. The second song is a polysyllabic ramble about a family reunion in Oklahoma where they are "having us a time" by shooting off second-hand purchased flare ammunition with a "big ol' pistol." The first impression of both songs might be a celebration of country life, but it doesn't take long before you catch the glimpse of the severed ear in the abandoned field. Even if you don't agree with McMurtry's sentiments, it's hard not to enjoy the music, both the slow side of the former and the rocker of the latter. (And how can you not like a song that is introduced as a song about "the North Texas-Southern Oklahoma crystal methamphetamine industry"?)

After six studio albums, McMurtry has plenty of material to choose from, and the selections here adequately showcase a song or two from each album. He avoids the minor radio hits (well, at least the ones I remember that they used to play on Austin's KLBJ) in favor of songs that benefit from the ragged electric guitar and two piece backing. In addition, the album contains a couple of wonderful bits of stage banter, including a wry commentary about George W. Bush's affected pronounciation of "nuclear" ("Jeb doesn't say 'nuk-yler'") and a bitter comment about "I used to think I was an artist...come to find out I'm a beer salesman."

This is a good spot to start from if you've never heard McMurtry before, because if you don't care for his deep-nasal, near-spoken singing style in this setting, you're not going to like it when you can hear it even better. I'm tempted to compare him to Dylan. Maybe it's because I share some of McMurtry's background (not to mention that I'm closer to him than Dylan in age) and none of Dylan's, because I enjoy his sarcastic style and electro-country-rock sound much more. In particular, McMurtry's lament for the loss of the buffalo (as a metaphor for a number of vanished environments) in "No More Buffalo" speaks more to me than any number of similarly themed Dylan tunes.

Other highlights include: "Levelland," a song about a communist friend of McMurtry's who lived in Floridata, Texas (which didn't fit the meter, so he changed the name of the town to Levelland); "60 Acres," about a character that inherits some land from his grandmother but isn't grateful at all about it; "I'm Not From Here" is the theme song for all of us who move away from the ol' hometown; and "Rachel's Song," a wonderful character portrait of a woman with a drinking problem. Unlike his studio albums, there's really not one clunker in this collection and I feel positive about something in each one of them.

Most artists can make pretty good CDs when they have all the musicians, production tricks and second chances available in the studio but not all of them can quite pull it off in a live performance. James McMurtry is definitely NOT one of those. Good as his recordings are, he's better live. And he does it with only two people behind him. I bought "Live In Aught 3" at the door on my way out of his show in Little Rock in November. It was like taking the show home with me. I've driven back roads, drank beer and built fences to this CD. It just don't get a whole lot better. The standout song on this album, for me at least, is "Lights of Cheyene." Performed solo. Just JM and that "great big ol'" red acoustic Guild. If you're new to James McMurtry's music, start with this one and work your way backwards. It's well worth the trip.

I saw JM at Shuba's,(Chicago), in 1995. Although I enjoy his cds, and the excellent lead guitar work, (that JM does -not- play on his cds), my first thought at the show was: "Why doesn't he just record the three piece?, he's playing all the guitar anybody'd ever need." Make no mistake about it, although his focus is on lyrics and the right music for the lyrics, JM is a montrous guitarist, kind of Keith-and-Brian-all-in-one, with a unique melding of hard rocking rythms and quasi-virtuoso fingerpicking. If you like his cds, you'll love him live.

I first heard James about 8 years ago, completely by chance, which is usually the best way. I was taken immediately with his guitar style, his raw yet tender, literate vocals and his amazing way of 'just telling a story.' I loved 'Where'd You Hide the Body?' and 'Candyland' but didn't care much for his more recent efforts. Then I sampled 'Live aught-three' in B&N and was immediately reconnected. 'St Mary of the Woods' is a great set opener...a wonderfully bittersweet tale of megastar detox. The rest of the CD just keeps getting better. I'm glad he does a version of a Townes Van Zandt tune... a tribute to one of Texas' premiere singer/songwriters. He deserves much wider recognition than he gets. He should tour in FLORIDA (hint); we love him down here! James, long may you amaze us with you understated artistry.

For James McMurtry fans you will understand when I say this should have been a double disc. If you are not familiar with McMurtry, buy this album and then all of his albums and you will see what I mean. I have seen James dozens of times live and for my money nobody does it better. This album truly shows what a great vocalist, song writer, and guitarist James is. His sound is raw but refined at the same time as is evident in the powerful "Rachel's Song". His song writing is reminiscent of his great father's works, novelist Larry McMurtry. If there was any justice in the music industry these days, James would be a household name. For now I am glad he isn't because there is nothing like seeing him perform to overcrowded beer joints the way good music was intended to be heard. My only complaint is it isn't a double disc. I can't think of a bad song he has ever done. A definite must have for fans and beginners alike.

James McMurtry is sometimes characterized more as a songwriter than a performer, and he has penned a number of songs that chronicle the lives and times of those who are living on the fringes and those marginalized. But his earlier studio work has not ranked as among my favorites, sometimes seeming as though he would rather be doing something else, maybe writing.

But on "Live in Aught-Three," Mr. McMurtry throws down the gauntlet and invigorates his songs with the crisp energy and brisk pace they deserve. More than once, McMurtry and his backing duo the Heartless Bastards-drummer Daren Hess and bassist Ronnie Johnson-cut loose with that kind of special, focused intensity the best power trios bring to live sets. The slower numbers offer a nice respite and bring balance to this collection of live shows from four venues.

Yes, it's almost a cliche, but play this one loud and leave some room for folks to jump about.

Lou Reed and Roger Miller stumble into a bar. Tom Robbins, Jennifer Jason Leigh, John Lennon and Debra Winger are holding down a table littered with lime bones and a half-empty bottle of tequila, discussing the triple aspects of the Universal Goddess, maiden-mother-crone or waif-whore-witch. Some number of hours later, someone says, "Let's put on a show!" The way they're standing says it all.

It could have happened just this way...

Bought this record 6/19/06--hasn't been out of the top slot in my disc changer since. Usually ignore requests from Amazon to review purchases...just couldn't let this one pass.

If you are new to Mcmurtry or a long time fan, you MUST own this album. In my opinion this has to be one of the finest live albums ever. It has the perfect song selection and great sound. I have loaned it out to several friends and they have ALL ended up buying it and other McMurtry albums. This album gives you great insight to McMurtry's personality and dry wit. The best song on this album is No More Buffalo, with Lights of Cheyenne a close second. Other high points are a blistering version of Choctaw Bingo and Too Long in the Wasteland. This live performance truly gives you the feeling you were there. One listen to this and I think you will agree McMurtry is one of musics most overlooked artist ( or beer salesman ).

I heard one song on XM from this CD and rolled the dice on buying the whole thing. It is a solid effort start to finish. There have been a handful of CDs I have bought through the years that just never seem to get tired, and this is among the top of that list. Couldn't recommend a CD more.

Excellent Live workings of some of McMurtry's Best. The tunes drip with passionate renditions from a master storyteller. Quality playing with a group of great good old boys. Rock and Roll Americana never sounded so good. If you arn't singing along to "No more Buffalo" as your driving down the road you got no soul. If your a fan you need this CD.