Rock 'n' Roll -- UPI Arts & Entertainment

The annual South By Southwest festival in Austin, Texas, collects so much great music in a weekend that it's impossible to cover everything in one column. Here's a follow-up covering most of the memorable music that wasn't covered in last week's column.

Lester Chambers, the great pop gospel singer from 1960s icons the Chambers Brothers, was on hand to promote his new project with guitarist K.K. Martin, "Chambers Martin." Anyone who has heard the Steve Earle/Cheryl Crow update of the Chambers Brothers' legendary "Time" knows that this music still appeals to a contemporary audience.

Chambers is in superb form on this collection of blues and R&B standards, singing at his best on "Ain't Got You," "Trouble In Mind" and "Parchman Farm" with great guitar backing from Martin, and adding his soulful harmonica to "Thrill Upon the Hill" and a slight variation on Bob Dylan's "I'll be Your Baby Tonight," "I'll Be Your Daddy Tonight."

Martin's quartet backs Chambers remarkably well, even coming up with a novel, bluegrass-style arrangement for "Time Has Come Today." This great record is available through the band website chambersmartin.com.

Back in the cosmic cowboy days of the 1970s, Austin was known as "Groovers Paradise" to the generation of musicians who built the scene that has evolved into South By Southwest.

One of the signature bands of that era was Greezy Wheels, and band led by guitarist Cleve Hattersley and featuring his wife Mary on violin and his sister Lissa on vocals. The band has released a reunion album, "Millennium Greezy," that shows them all in terrific form on a mixture of good-time covers, from "Jambalaya" and "Tomorrow Never Knows" to "Louie Louie" and "Take a Walk on the Wild Side," with damn good originals, enough strong material to make you wonder why they waited this long to do it again.

The sweet harmonies Lissa, Cleve and Mary ply start things off beautifully on the reggae-fied "Sideman's Party," one of several outstanding songwriting contributions from Cleve. Lissa's distinctive voice lays the right combination of humor and anger into the stinging put down "I Stick the Doll (With Burning Pins)," while Cleve waxes longingly about green barrels in the funky "Dr. Wayou (Roky's Song)," a tribute to Austin legend Roky Erickson.

Cleve cuts some mean grooves to match the irony of his vision on "The Kids Are Always Right" and "Punishment Room." Lissa, who led the New York combo Sweet Liss and the Swells for a while after Greezy Wheels broke up, also shows off her jazz chops on the gorgeous "I Just Like Being a Girl" and "(Your Love Is) Priceless." Available from tanarecords.com or greezywheels.com.

"Songs of Sahm" is a tribute to local hero Doug Sahm, the prolific songwriter and leader of The Sir Douglas Quintet and Texas Tornados, from the dependable alt-garage band The Bottlerockets.

Sahm's death in 1999 still hangs over the Texas capitol city -- his music is heard everywhere you go there -- and the Bottlerockets were received warmly when they played such favorites as "Mendocino" and "Is Anybody Goin' to San Antone?"

If Norah Jones wasn't already a star when she hit town she was definitely one when she left.

The vocalist from Dallas is well known around these parts, but since she went to New York and released the Arif Mardin-produced debut album, "Come Away With Me," she has developed into a formidable stylist who handles, pop, jazz, country and blues with equal facility.

Long time SXSW attendees have started to look for the most interesting Japanese groups every year, and this year's prize goes to Acid Mothers Temple, a heady mixture of guitar-based progressive British rock and German trance-rock from the early 1970s.

For some reason, there was a large contingent of bands from the New York City borough of Brooklyn showcasing at SXSW this year.

The Brought Low put on a terrific show in Austin at the Rehab club as part of a showcase for Tee Pee records. The group is an old school heavy metal power trio with an accent on "heavy," the kind of band Brooklyn rock has built its reputation on.

The celebration climaxed with a wild daylong party at the Continental Club hosted by Mojo Nixon. Nixon turned his set into a showdown with New Orleans madman Dash Rip Rock, with each band taking turns on stage in a bizarre battle of the bands. In the end, Mojo naturally declared himself the winner and Dash vowed revenge, but the real winners were the audience members who were treated to the show of a lifetime.