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    Rock Band With a Fiddle

    From Idaho to Austin: Reckless Kelly's Willy Braun steers music in a new direction

    Arden Ward
    Oct 20, 2013 | 6:09 pm
    Reckless Kelly band pictureplay icon
    Reckless Kelly's eighth album, Long Night Moon, was released September 3.
    Photo courtesy of Reckless Kelly

    Reckless Kelly may be known as a Texas band, but these musical veterans have roots far and wide. Led by brothers Willy (lead singer) and Cody Braun, Reckless Kelly was first established in Bend, Oregon.

    The band relocated to Austin in 1996, where its live shows made a legend out of Lucy's Retired Surfer Bar on Monday nights. Playing a brand of roots rock that leans heavy to the rock side of the equation, the band is a stalwart — an inspirational success story — of the modern Texas music movement.

    "We're basically just a rock band with a fiddle, so people can just call us whatever they want as long as they're still coming to the shows."

    In early September, Reckless Kelly released its eighth studio album, Long Night Moon. The follow-up to 2011's Grammy-nominated Good Luck & True Love, Long Night Moon is a tight, well-constructed album that takes the band to new heights with a cohesive sound and thematic subject matter.

    "We're on the road a lot," says frontman Willy Braun, speaking of the latest album's travel theme. Between traveling to gigs and spending time in Idaho and Austin, Braun noticed most of the songs he was writing for the new album talked about traveling and going back home.

    "I decided to go with it ... steering most of the songs in that direction," he says.

    The album's first single, "The Last Goodbye," is an easy-listen tune with a rock-and-roll backbone and simple melody. "The single's doing well," Braun says, "climbing up the old Texas charts." In addition to the single, there are a few hidden gems on the album that Braun thinks fans — new and old — will appreciate.

    "We’ve got a couple of things on there that we haven’t really done before, arrangement-wise. There are three songs at the end that run into each other as a trilogy," he says. "We worked on that for a while, and that’s something I’d thought about and wanted to do for a long time. It was really cool to see that all come together."

    In support of the new release, Reckless Kelly is currently touring nationwide (with a few select stops in Texas). "We’ve been going outside of Texas for a while — almost our entire career," Braun says. "We probably spend more time outside of Texas than we do inside."

    "We probably spend more time outside of Texas than we do inside."

    The band has no challenge filling seats outside of Texas, thanks to years of touring both coasts and camaraderie among the Texas music scene. "All of the bands [from Texas] that go out there are talking about the other bands," he says.

    "There’re a lot of people helping each other out out there. They’re spreading the word, and I think that’s one of the cool things about the scene," he says. "[Other bands will] give you shout outs and talk about you and turn people on to your music."

    Although Reckless Kelly is undoubtedly part of the Texas music scene, Braun and his bandmates don't subscribe to a "Texas country" label — and they never have. "We always just call it roots rock or country rock or alternative country," Braun says.

    Texas country, he explains, gets looped a little too tightly to country music for Reckless Kelly's sound. "We’re basically just a rock band with a fiddle, so people can just call us whatever they want as long as they’re still coming to the shows."

    For this "rock band with a fiddle," there aren't specific influences that Braun draws on for inspiration. "You always get influenced by what’s around you," he says. "But you kind of want to take those as broad inspirations, you know influences, instead of trying to, oh, copy anything — for lack of a better word."

    "I get a lot of my ideas out of books and looking around, seeing what’s going on around you," he says. "Pretty much anything can be written about. It’s just finding the right way to say it."

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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    series/htx-music-scene-2013

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