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About the Cover
he Randy Rogers Band was a natural Randy, Geoff, and singer-songwriter Brandon a band member. Geoff in his own cool way
choice for the October 2006 Texas
Rhyder (the opening show) that day and it
said, “Cool, glad you guys traveled that far
Music Times cover story. They are
will be forever one of the best days of my life to see us, hang around after the show.” The
the hottest selling band in both live perforeven if I don’t think I was a very good report- Euro Texas music fans were dumbfounded,
mances and CD sales with hard-core Texas
er or interviewer. Since that day in May 2006 as they had no experience with the friendly
music fans at the present, as they make the
I have gotten to know the other members of
nature of the Texas music scene. The band
move to a national tour to promote the new
the Randy Rogers Band and found everyone
members and the team all know it was a long
CD “Just a Matter of Time.” The CD has
of them to possess the same humble personal- road to get to where they are and seem not to
already sold out in
even show a hint of
several retail outlets
arrogance or takaround the state in
ing it for granted. I
They are individually and as a team a “Class
believe that it is this
Act”. They have no peer in that respect and
release. The success
personal quality that
is well earned and
communicates to all
classy group of guys for years to come.
deserved. It has been
of us who love them
a long road and they
so much. I can feel it
are entitled to every
in a crowd, and I see
bit of reward and satisfaction the market and
ity. All of them have a tremendous sense of
it in their performances. I talk to many people
music fans are now showing them. I like
humility and gratitude toward the fans and
about music, bands, and musicians. It is part
many things about the Randy Rogers Band.
a sense of purpose that is larger than their
of the job after all as an entertainment magaThe music, of course, is the dominate facindividual desires. In the day of instant grati- zine publisher, and I have never heard from
tor but not the only one. Randy and Geoff
¿FDWLRQDQGQDUFLVVLVPLWLVUHIUHVKLQJWRVHH anyone an ill word about anyone in the Randy
a group of guys so popular who are not total
Rogers Band or on the road team. I cannot
beginning to develop stories for Texas Music ego maniacs. They are serious and it is a busi- say that about any other major band or artist
Times and launch this publication. The band
ness and at times, they are all business, but
in Texas music. They are individually and as
had never heard of Texas Music Times but
they are also very nice guys whom always go a team a “Class Act.” They have no peer in
their publicist Brandy Reed of RPR Media
out of their way to sign autographs after evthat respect and the fans will continue to be
believed in the concept of a Texas Music edi- ery show. In fact, they all sign them. Not just drawn to this classy group of guys for years
torial and story magazine enough to contact
Randy gets requests for his signature. They
to come. They are Randy Rogers, Geoffrey
me and make time for the interview. I found
are all swamped after every show and Brady,
Hill, Jon Richardson, Brady Black, and Les
it strange that both Randy and Geoff were so
Jon, Geoff, and Les are likely to sign as many Lawless. They are the Randy Rogers band
humble and it did not matter if I had a record as Randy. I remember introducing Geoff to
and Texas Music Times is proud to have them
of accomplishment as a magazine or not.
some fans from Belgium once in Kerrville
as our October 2006 cover story.
It just seemed that someone wanted to talk
and both of the fans who had traveled so far
with them about the music and who they are
to see Texas music were amazed they could
Keith Howerton
and that was enough for them. I spoke with
just walk up, say hello, and shake hands with Editor in Chief
Team Randy Rogers Band~RRB
up Ford band and emphasizes Jack. Even with
the current number one pick from Texas, many
outside of Texas see the Randy Rogers Band as
Randy Rogers. Dirks Bentley is quoted on his
website referring to the Randy Rogers Band using singular person language about Randy only.
It is not because Dirks is trying to slight the
band; it is just how it is in the world of country
music today. Dirks is only reacting to the way
he understands the process.
By: Keith Howerton
he Randy Rogers Band is without a
doubt the most promising band of
artists to come out of Texas in a long
while. That includes, in my humble opinion,
Pat Green and Jack Ingram. I think there is one
simple reason for that. The Randy Rogers Band
is a band. They are a true band of musicians
that break the mold of the traditional Nashville
penchant for creating front people and backing
In reality, The Randy Rogers Band is the best of
them up with hired guns that are replaceable
possible teams. The entire road crew including
Dan McDonald (Road Manager), Toby Hamm
drop of a hat. They are a unit. Even in the face
(Merchandise), and Sean Patrick (Sound Enof hardship or tragedy with one of the band
gineer) work as to bring the shows to the fans.
members, the guys hold together and vote on all
They do it about 5 or 6 nights a week every
matters concerning the band. I hope Nashville
week with little time off. It is amazing that they
takes notice and the idea of great bands comes
can put the show together night after night with
into vogue in music city. We can all hope for
Toby, Sean and Dan (The Road Crew)
all the road miles and moving of equipment.
that. Music city never has really embraced the
concept of bands and instead has focused on
The bus and trailer is a self-contained unit and
everyone pitches in to load in and load out. It makes for late nights, and
front men and women who they can develop as an individual brand. Pat
Green used to have a tight and coherent band that he kept together for his heavy road fatigue but the fans in the each town don’t notice when it is
their turn to see the show. The band hangs around until all the fans have
rise in Texas music. Now the band members have changed and the focus
is on Pat. Jack still has a great band. The Beat up Ford band is a tremengone home before loading the trailer and the bus for the trip to the next
dous group of talented individuals who continue to deliver along with
town. Watching team RRB is a lesson in hard work, and anyone who
Jack one of the best live shows in country music. However, the Nashville really thinks about it realizes the process is repeated almost every night.
media machine has begun to emphasize Jack far more than they mention One cannot help but respect all of them for it. (Continued on page 4)
his band mates. The updated Jack Ingram website downplays the Beat
team texas music times
randy rogers band
rrb brings it to the wormy dog
josh grider band
Keith howerton
publisher and editor in chieF
rachel taylor
roger ray-a man of many talents
cody gill band
copy editor
danielle howerton
layout and design
cody braun
steve circeo
web master
wicked brew
10 city run
autumn boukadakis
rebecca howerton
sales and marketing
numerous writers and contributors
special thanks to all of you
lonestartime italian webzine
cover photo art by Mike galloway
doug moreland
drive~full throttle style
kenny wayne shepherd
honeybrowne flavor
discovering~jason herd
and all the artists and fans that keep iT real....
god bless
contact our writers, contributors and staff
via our website.
From the Editor in Chief
a conversation with micky braun
behind the scenes
no-justice-the next big thing
the pearl of bastrop
kevin fowler rolls into lawton
the ginn sisters
ziegfest at lake bryan
10 city meets music city
introducing missy querry
the tale behind the tune
Welcome to the October 2006 issue of Texas Music Times. I would like
to personally extend my thanks for taking the time to pick it up and give
it a read. We work very hard as a team each month to bring you real
stories from our music scene in a way that is interesting and informative. Our layout style is conservative and our content fresh, original,
informative, and educational. We are the largest magazine dealing with
Texas Music with more column inches of content each month than
any other publication in the genre. My commitment to each of you as
a reader is to keep it that way. We focus on the artists, the stories, the
music, and not ourselves. A reader will never see a photo of one of us in
these pages. We are not so vain to think we are the important personalities in this great movement known as Texas and Red Dirt music, and
our content print space is valuable and dedicated to the artists and the
stories. They are important to the reader. We are not. Also, we will never
on the cover for a December issue. Those are tricks to get you to pick
up the paper and in our view degrade the value of our music and movement. Our goal is to elevate our scene and not simply commercialize it.
We want the readers to seek out Texas Music Times every month for the
content, and not because we trick them with cute covers. We think the
few days and we thank all of the fans for that. Additionally, the artists
are on our side and are always giving us their support. That keeps us
going. So, again thank you for reading Texas Music Times and send us a
note to let us know how we are doing. Oh, and please tell your friends.
God Bless.
Texas Music Times magazine and texasmusictimes.com is wholly owned by Texas Music Times LLC, a Texas Limited Liability Company. The name “Texas
Music Times” and the slogan “The Red Dirt Is Here” are copyrights of Texas Music Times LLC. The Texas Music Times logo is a trademark of Texas
Music Times LLC. The ownership of printed material in Texas Music Times or on texasmusictimes.com is jointly owned by the contributing author and
Texas Music Times LLC. Re-print or reuse of any material is not authorized unless approval is giving by Texas Music Times LLC in coordination with
the original author. If approval is given proper credit must be given to the author and Texas Music Times Magazine or texasmusictimes.com. Reuse
of photographs for commercial use is prohibited. For inquires or contacts please email [email protected]
Errors and Omissions Policy:
All content in Texas Music Times magazine and on texasmusictimes.com is opinion and editorial and the views represented are solely those of the author. Texas Music Times LLC is not liable for any errors, omissions, typographical errors, or views expressed in the magazine or website.
Disclaimer and Use of Language
Texas music is a passionate subject for the artists, fans, and industry at large; and there are views that individuals hold strongly. Words like
“crap,” “ass,” “damn,” and “hell” are likely to be printed in Texas Music Times LLC publications. If you are offended by words like that please be
warned. Additionally, our management and authors may be persons of faith and refer to a deity that they believe in such as Lord, God, or some other
name for a greater being. If you are offended by people who express belief in a higher being, then we suggest that you get over it.
(Continued from page 2)
Marcos friends that keep the band
going by supporting anyway they
could. Randy often tells stories
on stage of days just 2 years ago
when they played in front of 30
or 40 people at gigs. Those days
are gone and The Randy Rogers Band is now built to last and
poised to forge ahead to bring
their brand of country music to a
nation of fans in the waiting.
Even when Geoff recently had
to take some personal family
time, the band cancelled some
shows to wait for their band
mate until he urged them to go
back on the road and play. Eric
Borash, or EBO as he is known,
Eric played alongside for a few
player on both “Rollercoaster”
and “Just a Matter of Time” so
he is no stranger to the Randy
Rogers Band.
7KHÀH[LELOLW\RIWKHWHDPVXJgests how tight they are as not
only a business but as friends.
Randy is the leader and that is
Photo courtesy of Mercury Records
an undeniable fact, but they all
are part of the process. Watching
them work at sound check or load in and load out is a lesson in team dynamics. It is not a surprise that they now have the hottest country record
on the shelves. The reason is simple. They worked for it and earned it
the old fashion way one fan at a time. Hard work still pays off and The
Randy Rogers Band is proof. No band has worked harder to get to where
they are. Everyone who knows Randy and his band mates tell stories of
days when things were not gravy. They all remember the days of playing
gigs for 10 or 20 bucks each at the end of the night. San Marcos friends
relate story after story of Randy not being willing to ever give up no matter how tough it got. It was a network of Southwest Texas State and San
However, no one gets a sense that
the band is resting on its previous
success. The new record is selling
like crazy, the tour schedule is
strong, and the team is the same
hard working bunch of guys they
always have been. Their outlook
is positive and long term, and
every fan that has ever enjoyed
spinning their CDs or attending
their live shows should pray and
wish for continued success, heath, and God’s blessings. They need our
help to go to the next level and deal with the bad things that happen to
good people. Randy once said on the bands website, “Pray for us, it gets
crazy out on the road.” They need those prayers now as much as ever as
they deal with adversity and success. May God bless all of them and keep
them safe as they take their trademark sound to the rest of the country.
The country deserves them just as much as we do and they are a model of
what a great band should be. A group of great guys making people smile
through music. What more could anyone ask for?
Randy Rogers Band
Brings it to The Wormy Dog
ith his backwards ball cap and overall relaxed appearance,
to be one of the hottest rising artists on the country music
to be the case with the growing buzz focused on his new album, Just A
Matter of Time. With a new label (Mercury Nashville) and a growing
legion of rabid fans that love his honest and tuneful sound, Rogers offers
his own take on Texas Music.
On a recent mid-September night, Rogers looked perfectly comfortable
on the stage of Oklahoma City’s popular Wormy Dog Saloon, backed by
his crack band of Texas-based country-rock musicians. Rogers and company were in attendance at the Wormy Dog as part of a week-long stretch
of gigs to help kick off the week’s release of Just A Matter of Time. The
i-Tunes, with the album currently ranking as one of the most downloaded
albums on the online music service.
“This has been the greatest week of my life,” gushed Rogers. “Thanks for
sharing it with us.”
As for the music that night? The guys didn’t disappoint on this humid,
late summer night. The packed saloon was brimming with energy as the
band kicked things off with the solid song “Better Off Wrong,” that is
Over the course of the two-hour set, RRB buzzed through most all of the
tracks on both the new album and 2004’s popular album Rollercoaster.
Midway through the set, Rogers introduced the melancholy “Before I
Believe It’s True” as his “favorite track on the record.” Enhanced a great
Geoffrey Hill and guest guitarist Eric Borash (of Radney Foster’s band),
this is a helluva song to hear live; particularly at the rousing conclusion.
Loving the familiarity of songs like the Rogers/Cody Canada-penned
“Again,” the honky-tonk groove of “Ten Miles Deep” written by bass
player Jon Richardson, and the rowdy barroom sound of Merle Haggard’s
“I Think I’ll Just Stay Here and Drink,” the audience was in a consistent
state of excitement. The energy was palatable from the second level to
Between songs, one thing Rogers emphasized was his distaste for Nashville created pop country and the idea that it was “sappy pop songs”. This
is nothing new, however. Many Texas and Red Dirt artists have been
saying this for years; something that distinguishes this scene from the farmore commercially polished music coming out music city.
“We want to let you collectively know, as a band, that country is not
dead,” Rogers stated reassuringly.
Finishing up the show with “Kiss Me in the Dark,” the new “You
Could’ve Left Me,” and the crowd pleaser “Down and Out,” the guys had
a great encore with “Whiskey’s Got a Hold of Me.” Yep, another Texas/
Red Dirt-choked night at the Wormy Dog, with Randy Rogers Band. And
how sweet it was.
Josh Grider Band~A Show to the Finish
By: Steve Circeo
t was a pleasant Saturday evening in San
Antonio. Sure, it was a little warm, because
the beautiful fall weather hasn’t hit San Antonio yet, but an ice cold beverage always goes
down better when I’m overheated, anyway.
I had wrestled with whether or not to attend this
show. I’d been to just about as many shows as a
successful touring band the past couple weeks,
and I was a bit burned out. But this was the Josh
Grider Band, and I know that every time I go to
see Josh, Kris, and Seth, I’m in for something
special. So I jumped into the truck and headed
out to the Rolling Oaks Sports Bar and Grill in
San Antonio.
Everything was going along great until right
at the stroke of midnight. (Okay, to be fair, I
didn’t look at my watch exactly when it happened, but I did just before and just after, and I
swear on a stack of Townes van Zandt records
that it was within 30 seconds of the stroke of
midnight.) “What happened?” you might be
wondering by this point. THE POWER TO
lights were on, but when Josh stepped up to
but those within about twenty feet of the stage
could hear him. The only sound backing him up
was coming from Andy Vickers on the drums.
And then a magical thing happened.
in the Spring of 2006. I’d never even heard of
them before, but I had been bored that night
(oh, how I long for those days), so I went to the
show. The band quickly caught my attention
with Josh’s commanding on-stage presence and
just-the-right-amount-of-twang baritone voice,
Kris Farrow’s shut-up-and-listen guitar work,
and Seth Allen’s a-bass-is-a-guitar-too attitude.
And the harmonies; oh, those harmonies.
Little things about JGB’s performances let an
audience know that these guys really know
what they are doing. From the perfectly synchronized musical stops, to the
aforementioned glorious harmonies, to the drumsticks clicking
when Josh sings “click my heels”
during “La La land,” one can be
sure to get their money’s worth at
any Josh Grider Band show. But
last night we got even more.
A hush came over the crowd as everyone turned
to see what had happened to the music. Josh,
still singing and playing his acoustic guitar,
stepped down from the stage. Seth and Kris
followed with Seth holding his un-powered bass
and Kris picking up another acoustic guitar as
he moved forward to the front. Andy brought
his sticks and they formed a circle in front of
the stage, singing and playing the whole time.
The crowd gathered around as Andy tapped on
anything he could to keep the beat including
himself while Seth slapped the bass notes so everyone could hear. Josh hung in with vocals that
The band had been playing for a
couple of hours and had put on a
stunningly good show. Everyone
pre-show trepidation. There was
not even any hint of Kris’ recent
vocal woes.
which well-known to JGB fans,
includes a brilliant mixture of
originals and covers such as Pink
Photo By Steve Circeo
Floyd’s “Another Brick In The
Wall,” Charlie Daniels’ “The Devil
Went Down to Georgia,” and the Bee Gees’
were sharp and clear with the softness that is
“Stayin’ Alive.” Originals include JGB’s own
ORVWYLDWKHPLFURSKRQHVDQGHOHFWURQLFDPSOL¿“Mama,” and some kick-ass solos by each of
cation. Seth and Kris added the trademark Josh
the band members.
Grider Band harmonies that moved the crowd
closer in so as not miss a note. The acoustic and
PLQXWHVDVWKH\¿QLVKHGWKH¿QDOH1RRQHUHally noticed the time and not a soul turned away
or said a word. We all just listened and watched.
I have to admit that I wasn’t so caught up in the
moment that I didn’t take time curse my luck
for having decided not to bring my video camera. I quickly got over it and joined in as those
the band.
Mama, sing me a lullaby.
You’re the only thing left that I know to try.
I been drunk and sober and drunk again.
Walked a thousand miles, cried a million tears,
‘til they poured like rain.
So mama, sing me a lullaby.
And that’s how the show ended.
Afterward, the audience stuck around still savoring the moment. Many went up to the band
members to congratulate them on a great show;
everyone buzzing about how they’d never seen
anything like that before and how wonderful
it was. One fan went up to Josh and asked him,
“What made you come off the stage like that?”
This young man, Josh Grider,
looked at him and with the
worldly wisdom of a seasoned
veteran said matter-of-factly,
Keith Howerton, the editor and
publisher of Texas Music Times,
asked Seth Allen the same question at a different time and location and Seth replied, “We had
what we do.” Same answer from
both guys not knowing that the
moments that I’ll never forget.
In fact, after thinking about it, I
was glad I didn’t have my video
others and that wouldn’t be
fair. The night the power went out on the Josh
Grider Band should be reserved as a special
memory for those who were at the show. You
had to be there.
First person to e-mail correct answer to [email protected] wins!
Q. On Les Lawless’ new base drum there is a clock, what do the positions of the clock hands signify?
September Q. was: In REK’s Jesse with the long hair who shot the bullet that killed the banker? answer: Sheriff Paul
The winner was Mr. Larry Braun of San Antonio.
Roger Ray - A Man of Many Talents
tices. She raised me and my brother to be good
little Buddhists too. As kids, we would chant for
hours. Chanting is a lot like praying. I always
chanted that I could be as good as Luther Perkins.
By: Keith Howerton and Mark Tucker
Recently Roger Ray from Jason Boland and
The Stragglers took the time to communicate
with us and answer a few questions for our
“sideman blues” feature. With out a doubt
Roger is one of the most talented musicians in
When you left working as an accountant,
Texas and Red Dirt music. However, his talhow good did it feel the day that you were
Telecaster or Steel guitar. Roger holds a Bachelors degree in accounting and was a senior
extroverted personality. He is just as likely to
be enjoying himself in a crowd before and after
shows as he is hanging out in the privacy of the
green room or the bus. Being from Oklahoma,
Roger is often confused for being American Indian. He is actually half-Japanese. Roger laughs
at the mistake and says it is part of business as
fans make assumptions.
This interview gave us some insight into Jason
Boland’s right hand man-Roger Ray.
None of them lasted very long. I also played
with a lot of red dirt songwriters prior to meeting Jason. Beverly Mayes, Tom Skinner, Bill
Erickson, the Red Dirt Rangers. I even toured
in Italy with Bob Childers and Craig Skinner.
Assuming we know what we are talking
about, and that you met Jason Boland at
“the farm”... tell us what it was like during
those days, and what other musicians you
ran into out there. What was the vibe like
out there?
The Farm was borderline cosmic. Musicians
I met there? Mike McClure, Cody Canada,
Jason Boland, Scott Evans, Brad James, Steve
Littleton, Eric Hanson, Jimmy LaFave, Bob
Childers, Tom Skinner, Craig Skinner, Greg
Jacobs … for years it was the red dirt Mecca.
JB&S have so many songs now, that have
become anthems to the fans, that are expected to be played at every show, are there any
that you just get sick of playing from time to
At what age did you know that you wanted
to play guitar, and was it one particular song
that you heard, or show you went to, that
caused you to say “hey, i wanna do this”, or
was it just something that was in your blood?
When I was about six months old, I remember
seeing my dad playing the guitar and drinking
beer with his navy buddies. I knew at that moment that’s what I wanted to do when I grew up.
$VLGHIURPP\GDGP\ELJJHVWFKLOGKRRGLQÀXence was Nichiren Daishonin. He was a 13th
century Buddhist monk who founded the sect of
Buddhism that, to this day, my mom still prac-
Photo Courtesy of Roger Ray
To be honest, it didn’t feel that great. Even
though I was highly overworked and grossly
underpaid, it really sucked to have to leave that
why I drink so much.
Were you in any bands prior to Jason Boland
and the Stragglers?
What’s the hardest part of being on the road
as much as you guys are? Who’s the hardest guy to be on the bus with/or who has the
worst/most annoying habit?
I hate to admit this, but being on the road makes
it really hard for me to maintain relationships
to get on the bus and forget about the rest of
the world until I get home. As for getting along
with the rest of the guys on the bus, that’s the
easy part. I couldn’t ask for a better group
of folks. All eight of us (band, road manager
Monty, bus driver Dave, engineer Greg) get
along famously.
I played guitar in a few college bands at OU.
of the tunes getting solid airplay. Classic rockers
DQGEOXHVPHQLQÀXHQFHDOOIRXURIWKHPHPbers of the band. The Beatles, Stones, Hendrix,
and Stevie Ray Vaughn and others are listed as
amazing tidbit since the oldest member of the
group is Cody at 29 with the other members
being in their late teens or early 20s. They are a
very young group of guys to have grown up on a
buffet of classic rock. However, Texas and Red
Dirt fans are lucky they did and with any luck
will enjoy the Cody Gill Band for many years to
come at gigs around the state and in future CDs.
Check out the Cody Gill Band at www.codygillmusic.com or myspace.com/codygillband.
By: Keith Howerton
Stephenville Texas can now be known as the
not only the home of Larry Joe Taylor and but
the Parnell brothers, but also the home of a
talented young foursome known as the Cody
Gill Band. The group made up of front man
Cody Gill, Jarrod Baker, and brothers Caleb
DQG=DFK+RRSHUKDYHFUHDWHGVRPHVLJQL¿cant buzz in Texas and Oklahoma with their
solid Red Dirt country rock sound. It was to be
expected since their recent CD titled “Boxcars”
was produced my Mike McClure. Cody even
sounds like McClure in delivery and vocal
WRQHDQGLWLVREYLRXVWKDW0LNHLVDELJLQÀXence on him in song writing. “Boxcars” has
taken off in many parts of the state with some
Photo Courtesy of Cody Gill Band
Cody Braun on Recording
ding “Reckless Kelly
Ke Wa
Was Here
The technology these days is great so you can
affordably go out there and put together a great
product,” he noted referring to the recent increase in popularity for a visual element.
By: Dru Willis
f two live albums count for anything, then
Austin is the place to record if you are
Reckless Kelly. In 1999 the band recorded
“Live at Stubb’s” at the famous barbeque joint
and earlier this year they followed up at La
The CD/DVD set is a culmination of the various stages of past ten years according to Braun.
“We did that acoustic show for quite a while
capture that before we got too far
into the electric thing,” he paused.
“Now we have been doing the
electric thing for nearly ten years
and it was kind of fun to capture
that as well.”
In addition to capturing the sound,
is the importance of doing so accurately. Braun noted that there
are many albums coming out
today that are full of re-cut vocals
and solos, overdubbed instruPHQWVDQGRWKHU¿[HVIRUJOLWFKHV
in the original show.
Zona Rosa with their newest release “Reckless
Kelly Was Here,” which has again captured the
energy that is so distinct to this band.
“It’s a great room—a large room. We had never
sold out a room that large in Austin before so
that was kind of a challenge but it was fun for
recent interview. “It was just the perfect place
to do it.”
Breaking away from the standard live album,
go along with the two-disc CD.
“They go in and take out the live
vibe. If you leave it all in there
and just let it be, you end up with
a couple mistakes here and there, but the overall
project is a lot more fun to listen to,” he said.
What also makes this project unique is who
was behind the wheel directing the DVD and
mixing the music for the CD. Reckless already
had a relationship with DVD director Peter
Zavadil, as he had previously directed the video
for “Stick Around.” To add to their network
of great talent, the band was also able to hook
up with Grammy Award winning mixer Elliot
Scheiner; all due to knowing the right person.
“He is good friends with our manager Kimiko
Tokita. She talked him into listening to the
band. He liked it and agreed to do the project,
so we lucked out,” he said. “It was the same
with Peter Zavadil and the DVD. He was really,
really good about letting us be a part of the
project and throw our two cents in.”
In a genre of music where artist creativity and
freedom are held high above any marketing projections or standards, it is the sound that matters
in the end. When an entire team of people can
come together in agreement on that, something
great is bound to be produced. “Reckless Kelly
Was Here” is just such a product. A true, live
sound by a talented group of guys paying homage to the last ten years and turning their sights
on the next.
According to Braun, “Reckless Kelly Was
Here” is far from the extensively, retouched
“live” albums. Luckily, the band did not have to
worry much about tweaking the sound. One minor exception regarded an out of tune mandolin
at the beginning of their cover of The Beatles’
classic “Revolution.”
“I was out of tune. We didn’t get it tuned up
before the song and there really wasn’t anything
we could do,” he shrugged. “We just kind of
had to overdub it. Everything else is as it is.”
“Everybody is doing it (releasing a live DVD).
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Plumtucker – Lightning Wheels
By: Steve Circeo
hen you slide
Wheels into your CD
player and hear the piano
prologue followed closely by the smooth jazz
sound of “Colorado,”
you may wonder why we
are reviewing this record
in a magazine that tends
to focus on the Texas
Country Music scene. I
could tell you that there
are some easily distinguishable country elements on the CD, such as a
wailing slide guitar and a song about a hammock While that would be
true, I’m going to tell you the real reason. This record really makes me
smile, and that’s not an easy thing to accomplish.
Without delving too deeply into my scarred psyche, let’s explore what
it is about Plumtucker’s Lightning Wheels that makes the corners of my
mouth turn up.
First is the Exciting Instrumentation. This musical journey begins with
a short piano prelude, then moves on to “Colorado,” which has an inspired musical hook played on an instrument that I was pretty sure I’d
never heard before. I asked Plumtucker frontman David Lutes about
it, and found out I was right. It’s a studio creation, made by bending a
Rhodes keyboard signal. Cool! The ride continues through the jazzy
“Lady Persuasion” with a coolly, oddball keyboard sound (that I can only
say reminds me somehow of “The Monkees”) coming in through the
right channel during the chorus. There is a mix of guitars on “Cowboy
Dream;” the complexity of which can only be appreciated with repeated
listens through headphones, and moves farther along with what my
untrained ear can only call a superbly orchestrated instrumental wonder-
piano epilogue. I smile.
Second are the Beautiful Vocals. That’s really the only way I can describe
David’s voice, which is unlike any I’ve heard in Texas Music. It’s smooth
with plenty of range and he knows how to use it, but refuses to abuse his
talent by hitting you over the head with it – he’s not a listen-and-marvelas-I-slide-up-and-down-the-scales kinda singer. In fact, David’s voice
seems to take its own reins; simply going where it needs to go and never
with the other vocalists and instruments. I smile.
Third is the Poetic Lyrics. David Lutes is a poet, pure and simple. There
are so many great lyrics on this album that I merely had to select one at
random to show you. From “Falling Up:”
And dreams come like a savior.
I drink deep from the well.
In patience, I listen.
The very word is like a bell - to toll me back from this mind of mine –
Distraction’s love of easeful death.
But I was not born for that, but to feel the warmth of mercy’s breath.
Wow! I feel like I’m back in English Lit, studying John Donne, sitting
next to Karen Lesser as she bends down to retrieve her dropped pencil; her blouse falling slightly open as she leans forward, and I catch a
glimpse of.… Well, it takes me back, anyway. I smile.
Lightning Wheels is a smart, fun, beautiful record, superbly crafted by
to categorize, so while it often seems the purpose of the American press
to narrow readers’ minds by providing such categorizations, I won’t do
it here, beyond this: Lightning Wheels’ soul is folk, its mind is country,
and its body is jazz. Listen to this record while drinking Smirnoff, Shiner,
words, put it on anytime you want to smile.
LonestarTime Italian webzine
By: Max Masetti
onestarTime is, in few
words, a webzine about
Texas Music, Red Dirt,
Atl-country, Roots. Me, Max
Masetti, and Cristian Gualandri
with the intention to improve our
favorite music in Italy. We don’t
know how a bunch of italian
guys can be so close with a music
scene so far from their country
but one reason is, for sure, that
something real, for real people
livin’ in a real world day by day!
Texas songwriters are incredible!
Photo By Gianluca Palmisano
ZHERRNHG5DQG\5RJHUV%DQGIRURXU¿UVWRIyears of reviews and articles, dj-sets
in different italian pubs and clubs, spreadin’the
“Rollercoaster” we can’t believe that right now!
word in every way, we needed to go ahaed: it
We booked Jarrod Birmingham, Jason Allen,
was time for live music! So we started to book
Chris Knight, Rodney Hayden and many more!
It was a dream for us and the dream came true
Dale Watson and then Redd Volkaert and when
when Cory Morrow stayed with us for our third
festival! Cory blew us (away),
we had a blast! We don’t have
thousand of people which follow
our events, just a few people but
very hardcore fans, so close to
the bands and to the music. Me
and Cristian pay with our money
almost every events, we have a
regular day job, Lonestartime
actually is not a business deal,
it’s just a love reaction and this is
what we wanna do, no compromise! We come to Texas every
year to keep in touch with your
music and with all of our friends
we met, texans are so friendly,
great people…and all we can do
is to offer a special hospitality
for all of you!
Website www.lonestartime.com
E-mail [email protected]
Max’s English is better than our Italian.
We published with minimal editing.
Doug Moreland: Legend in the Making
By: Heather Francell
egend has it that once, many years ago Doug Moreland actually
refused to play. His father, Glenn Moreland, a well-known cowboy
poet, asked him to perform for a gathering of friends one night many,
But Doug’s version goes something like this:
“Dad, I want to play the banjo.”
“Dad, I want to play the steel.”
banjo? I’m glad I don’t play the steel—it’s heavy.”
The man of legends took the stage at The Railroad Blues in Alpine and
played to a bar packed with fans, in what has become an annual appearance. In a bar with an “Around the World in Eighty Beers” wall of fame,
DWLQ\GDQFHÀRRUWKDWVWD\VSDFNHGDQGORXGPXVLF,DOPRVWH[SHFWÀ\ing beer bottles a la’ “The Blues Brothers.” The whistles for The Doug
Moreland Show are loud, the sangria is used for toasts between songs,
Doug Moreland has a considerable reputation for a sense of humor that is
as charming as his smile and as unexpected as his laugh. While they’ve
tweaked the sound to a feel more like Western Swing, The Doug Moreland Show is Texas Country entertainment well worth the price of admission. “We play music, and we are from Texas… we’re proud to be here,”
and the fans appreciate every minute of it. Songs like “A Boy Like Me,”
“Easy Money,” and the “But” song are easily familiar, interspersed with
new ones such as “No Place Like Home,” which resonates within and
quickly becomes a piece everyone knows. On “Pieces of the Trail,”
Moreland invites his father up to sing, showing his respect for where he
learned his craft. “Between Heaven and Austin” he openly admits the
inspiration he has experienced by other artists. Several of the new tracks
have already been laid and are expected to be released on a new CD early
this fall.
The band store has the requisite T-shirts and CDs, but this one offers little
something more. Doug may be the only musician who is as famous for
his chainsaw carvings as he is for his songs. A bear graces the stage, for
sale to a good home of course, while several other carvings both large
and small, are displayed alongside the CDs. What started as a way to
make a few bucks while wielding a chainsaw, actually launched the store
Cattlelacs, just south of Austin. The side business keeps Doug busy when
he’s not on the road performing. His woodcarvings are usually larger
than life, in a way reminiscent of Doug himself; a persona that is multidimensional on many multiple levels.
Regarding the recent request on Galleywinter
for a guitarist, the position has been pleasantly
Lenington’s beautiful, standing bass ‘Sissy.’
Andrew Silver had his work cut out for him
with the quick-paced setting for the ‘swing’
songs, while Wade McNutt balanced out the
VKRZRQSLDQRRIWHQOHWWLQJKLVKDQGVJRÀ\ing on such tunes. Doug’s Border Collie Sadie
takes her throne on stage where she holds
court till the break, at which times she gets her
own feel of the audience as they all gave her a
pat on the head. Everyone loves a doggie. She
GRHVQRWSOD\WKH¿GGOH\HWOLNH+ROO\-DODpeÒo) once did, but she makes herself endearing to the crowd nonetheless.
Photo By Heather Francell
By Linda Higbie
Drive~Full Throttle Style
he term Full Throttle to most people means to accelerate as quickly as possible. The action of pressing the gas pedal as far down as it goes. Pedal to the
metal, full blast, and kicking ass.
guys. They are taking names and leaving everyone else to eat their dust. Not only
have they made their way into the Texas music scene, but into my CD player with
their new album “Drive.” A CD with 13 Southern Rock inspired songs that are just
0\¿UVWH[SHULHQFHZLWK)XOO7KURWWOHZDVRQHQLJKWDW6DHQJHUKDOOHLQ1HZ%UDXQfels. From that night on, I was hooked. The band quickly climbed into my top 10
favorite bands in the Texas music scene. Formed in 2003, childhood friends Keegen
Reed and Justin Belz enlisted the beat of drummer Joe Cortez to create a forceful
Photo Courtesy of 36D Management
combined sound. Daily jam sessions paid off and soon Full Throttle was playing
regular gigs. Justin is a great player. Keegen is equally as talented on the bass, but
Joe’s drum solos are mind blowing! He is one of the best drummers in the state. Watch out Neil Peart! The talent combination of these guys will not
only leave one rocking out and wanting more, but also virtually speechless over how amazing they actually are.
For an upcoming show near you, check them out at www.musicfullthrottle.com.
Gulf Guitarist Storms New York City
and made it into the hall to watch this young
master of the guitar.
By: Scott Jones
an Antonio is hot and Houston is muggy,
but mid-town Manhattan during the dog
days of summer is relentless. All this reSRUWHUZDQWHGWRGRZDV¿QGEHHUDLUFRQGLWLRQing and something close to Texas Music. What
I didn’t want was the typical New York fauxcountry music bar, such as Hanks or the Rodeo
Grill. I personally couldn’t stand the thought of
seeing New Yorkers playing dress up and listening to Yanks trying to sing like cowboys. The
search was on.
Kenny’s long time singer, Noah Hunt, manned
the vocal mike. While I didn’t recognize the
bass player, it was the drummer who surprised
me. It may have taken a song or two but I
quickly realized it was none other than Double
Trouble’s Chris Layton.
It being Manhattan, I had multiple choices.
Broadway plays in the afternoon and at night.
Home games for the Mets by day and the
Yankees by night. Plenty of blues clubs and
local bars, yet I was still looking for Americana
blues. It turned out to be my lucky night.
At the famous Beacon Theater at 73rd and
Broadway, southern guitar legend Dickey Betts
was headlining a show. That caught my eye.
Better yet, the opening act was gulf guitarist,
Kenny Wayne Shepherd. Born in Louisiana and
discovered early as a guitar prodigy, Kenny
emerged professionally at the age of 13 when
he shared the stage with the legendary Stevie
1997 open for Bob Dylan in Austin. He blew
away all the guitarists that night. Since then he
has played San Antonio several times and never
disappoints. He has fronted Double Trouble
several times, and has even opened for ZZ Top
a year or two ago.
The show started out with “Born with a Broken Heart” and “Shame, Shame, Shame,” two
original blues numbers that brought everybody
to their feet. Kenny then switched guitars and
continued with a cover of Booker White’s “Mississippi Milk Blues.” It was clear that Kenny
was moving away from his last album, which
had more of a rock sound. He was back to playing the blues.
At full capacity, the Beacon Theater holds about
2,200 people, though when Kenny took the
stage there were no more than 300 people in
the audience. It wasn’t long into the set before
everybody in the building abandoned the lobby
Kenny used four different guitars throughout
the set and each one was crystal clear and slick
as ice. With every guitar change, the sound
perfectly matched tone for tone of the rest of
the band. Layton did not miss a lick on drums
at the front of this small venue increased as the
show moved on. It was clear that this opening
act was not stopping after the typically allotted
one hour.
At the 90 minute mark, Kenny started what
would be the last song, Jimmy Hendrix’s
“Voodo Chile.” Forty years ago, I thought nobody would ever be able to cover it. Stevie Ray
proved me wrong a decade later. Kenny Wayne
Shepherd has proved me wrong again. I have
seen him end the show with “Voodo Chile”
several times and it has yet to disappoint. He
plays the guitar upside down, sideways and
backwards. He holds it over his head, under his
legs and everywhere else. It did not hurt to have
Double Trouble’s drummer keeping the beat. It
was the perfect set closer.
The night was not over yet. After Kenny Wayne
Shepherd’s extended opening set, Dicky Betz
played another two and a half hours without
a break. Dicky has expanded his band, Great
Southern, to include three lead guitarists and
two drummers. Many forget he is the original
guitarist for the Allman Brothers Band and that
southern guitar rock started with that band. He
played half of the Allman Brothers songs that
he wrote, several blues covers, and songs from
his current albums. Dicky Betts’ southern guitar
the Allman Brothers back in 1972.
At night’s end, I had accomplished my goal;
beer, a/c and gulf blues mixed with Americana
and southern guitar rock. There surely was
some Texas blues in Manhattan, at least for a
few hours.
oneybrowne has made a lasting impression on me with beautiful
lyrics and tunes that instantly catch in my head. With long known
favorite “Texas Angel” making a mark for them, the band has more of a
connection to their fans than to the beer their name once derived from.
Well-written songs like “Julie At The Bar” and “Something To Believe
In,” give the powerful connection between bar-room observer and songwriter. Singer Fred Andrews gave a charming smile as he told me that
little bit of everything.
“Country music really
and lyrics to tell the
story, but our sound is
Americana,” he said.
That it is. A little salsa
feel here, a little twostep feel there, a harmonica thrown in with
the smooth hard driven
guitar licks, but the re-
sounding feel is as though R.E.M. took Honeybrowne under its wing and
then set them free.
Drummer Cody Banks was all energy through the show with solid, deep
Blackwell held my attention with a quiet and reserved authority as he
provided the billowing chords that grounded their sound. Fred’s voice
KDGDUHQHJDGHVH[\ÀDYRUWKDWGUHZWKHDXGLHQFHLQWRWKHVRQJZUDSping it around them to impart fantastic words like “Why did summer
have to go so fast/ It’s all over now/ Lets stay up all night long/ Tell me
we’re doing nothing wrong.” Lead guitarist Cale Richardson ripped into
immediately recognizable, but the song sounded better the Honeybrowne
way. This band may call Austin home when they’re not playing shows
The head counts for the shows continue to grow, the albums sell themselves the minute the band begins to play, and the recognition of their
style and songs all play into making Honeybrowne a well-rounded band.
Photo By Steve Circeo
By: Heather Francell
Discovering~Jason Herd
rom huge auditoriums
holding tens of thousands
of fans, to falling down
watering holes with one drunk
and no mic, Texas Music provides a wide array of venues
and gives the genre an intrinsic democracy. To be a Texas
musician, all one needs is a
guitar and the desire to write a
varieties of artists and sounds;
so many that it is very possible
a great talent can go undiscovered. This article is an attempt
to ensure the opposite.
Photo By Ross Wilson
Perhaps what attracts such
loyalty from Red Dirt fans is
the fact that so often, they are active participants in the discovery process. Fans can say, “I saw that guy play for beer before anybody heard
musician’s greatness independently of what some shrink-wrapped executive has deliberately chosen to promote. Because of this choice, the connection between fan and musician grows. The intimacy created allows
both to realize even greater truths in the songs. The fan will listen more
intently and the artist will speak more truthfully with the knowledge and
appreciation that someone is listening.
artist, look no further than Jason Herd. While Herd has played live only
at various open mics and a few gigs at the Trading Post in Ft. McKavett,
TX, his self-produced debut album, “One Day’s Work,” reveals a promising young artist, whose music will one day have people bragging about
Herd’s songs address such familiar topics as drunk summer fun, driving
the intense personal nature of his songwriting makes his stories entirely
unique and gives the listeners the sense that Herd speaks directly to them.
songs for family and later friends. This tone clearly carries over into his
songs, almost as if he is telling you to pull up a chair because he has a
story to tell. His rugged voice sounds as if it was born in a sawdust-covered beer joint and emanates a candidness that lends a perfect complement to his honest songwriting.
When the family, friends, and fans do pull up a chair, they invariably request his most resonating song “Courage,” which Herd terms “a personal
tale of love, teenage awkwardness, and the shameful disaster that arose
when the two were combined with an excessive amount of whiskey.” In
his feelings for her and inevitably fails in a tremendous way. Wry and
self-deprecating, the song hides the doubt and intense longing that led to
the incident underneath the humorous storytelling that makes it a crowd
favorite, leaving the subtle deeper truths to reward the more discerning
“Between the Shadows” is a solo acoustic act that proves his most
thoughtful and emotional song. Herd directly addresses a similarly intense and pained longing. While the song is straightforward, Herd creates
an image so lonely that one wants to take action for him. Anyone who
has lain awake in the dark night, mired in doubt, will directly identify
with the song. The empathy Herd evokes makes even more satisfying, the
realization he comes to at the end.
But as “Courage” proves, Herd can also display his sense of humor.
“Beer Goggles,” another of his biggest crowd pleasers, offers an account
of getting drunk to make his potential companion more attractive. While
the subject is nothing new, the witty lyrics keep the song fresh and fun,
and a great complement to a cooler full of beer.
So if Herd’s tales of unrequited love, loneliness, and want have such
insight, why have so few had the opportunity to hear what his songs have
to say? For one, Herd admittedly has not sought out a larger audience.
He says, “[Music] has always been a passion of mine, and I am always
involved in it, but my 8-5 job pays the bills, and therefore gets the majority of my attention.”
“One Day’s Work” was just that—a single day at the Arlyn Recording
Studio given to him by one of the lucky few to be touched by his music.
Making the album simply for himself and those who already appreciated
his music, Herd used the day to lay down the tracks to his nine of his
favorite songs and had friend Blair Mitchell lay down the drums, bass,
mandolin, and harmony. The versatile accompaniment stands as quite a
companion on faster songs to comforting friend on slower ones such as
“Courage,” adding even more depth to the music. While the rapid method
of recording left the songs a bit rough, Herd feels “the folksy nature of
A stark parallel exists between Herd’s music career and the girl who
haunts his dreams in “Between the Shadows.” She will only come to
him if he acts. While not necessarily ready to give up the day job, Herd’s
newest album represents a positive step forward in this regard, both musically and personally. The luxury of time and more reasonable recording
pace, along with the guidance of Tom Johnson of Alta Vista Recording,
KDVUH¿QHGWKHPXVLF7KHQHZDOEXPDOVRUHSUHVHQWVDQHYROYLQJPXVLcal style. “One Day’s Work” clearly shows shades of his earliest musical
Earle, and James McMurtry. His new work has shifted towards an edgier
The danger always remains that when a musician evolves, he runs the
risk of losing the voice that his fans came to know and the insights with
several genres if you want to hear great songwriters.” So he aims to incorporate the gutsy, raw, and honest feel of more traditional rock. While
of instruments, it maintains its focus on the lyrical stories and keeps a
love as water to eloquently capture his longing. His favorite song from
the new album, “Big House,” shows Herd has retained his own honest
and personal writing style with his new music. The song explores priorities against the backdrop of an old ranch house where his only company
is mice.
a larger audience with the new album and additional gigs in the Austin
area. As long as Herd keeps inviting the audience to pull up a chair so
WKH\FDQH[SHULHQFHWKHWUXWKDVKHVHHVLWKHZLOOVXUHO\¿QGODUJHUDXGLences, even if it’s one fan at a time. The only experience more satisfying
them, is passing it on to a friend and sharing that connection. Texas Music fans do this more voraciously than any others, so take this as an opportunity to discover an artist on your own and tell someone about him.
To purchase cds, sample music, or contact Jason, please visit his website
at www.jasonherdmusic.com. You can also request his music at
By: Jason May
Speaking of Beginnings:
A Conversation with Micky Braun
nly a few days before my sit down with
Micky Braun, I had been out at the County
Line in San Antonio taking in the live music
when an older guy standing nearby asked me
who was playing that weekend out at Floores. I
replied with lightening speed, “Micky and the
Motorcars open for Reckless Kelly.” “Oh,”
he responded. “I won’t be there.” There was
something snide in the way he said it, but seeing as I didn’t know him and therefore really
didn’t mind his absence at the upcoming show, I
turned my attention back to the music. But as I
didn’t take the bait, he continued.
guys. I mentioned having seen them at a show
recently where the sound system had been
throwing feedback throughout the set before
the soundboard dark and the guys without amSOL¿FDWLRQWKHIDQVVWHSSHGXSDQG¿QLVKHGRXW
the song. After a few moments of unsuccessfully trying to locate the source of the problem,
Micky grabbed a chair, dragged it right over
to the edge of the crowd, and climbed on up.
From atop his perch he issued the classic singa-long, “You are My Sunshine.”
This led to my next question. I noted that dur“All I’m saying is that I wouldn’t pay for that
er let it stop them. Proving their showmanship,
¿QDOO\DVNHG+HUHDVRQHGLQFLUFOHVIRUVHYHUDO the Motorcars always manage to play it off with
minutes without ever really saying anything
grace. “That’s all my dad,” Micky said smilother than his assertion that both bands’ music
ing. “He’s all about ‘the show must go on.’ His
was no comparison to that of a local, heavily
thought has always been that these people came
red-neck themed artist.
to see us and we need to give them a show.”
Up until that point I had tried to be diplomatic
offering statements such as, “Well, the great
thing about this genre of music is that there are
so many different sounds. There’s something
for everyone.” But go out of your way to rag
on the sound of two bands I respect, and the
gloves are off.
satisfaction crossing his face, I offered a rebuttal. “See, for me,” I began, “it’s all about the
lyrics.” As I went on, I widened that scope to
include professionalism, respect for the fans,
and lasting quality of the music produced. As I
took a breath, he stared back and said, “Well, I
It was at this time that the ominous clouds
to move over to Floore’s back porch to continue
the interview. I asked Micky about the move
to Austin. “It’s a long way from Idaho.” “It
is,” he agreed. He went on to explain that there
had been a few times that he had just picked up
and relocated to another city. “I did that with
Phoenix and after about a week of living out of
a truck, I realized that I needed a better plan.”
Knowing very little about the Phoenix music
scene, I inquired. “Punk,” he replied. “I was
way country in a sea of Punk.” And where did
0LFN\¿WLQ"³>[email protected],UHDOO\ZDQWHGWR
name a band Accretion. I always thought that
was just the coolest name.”
Um, yeah. That’s what I’m into.
I took that chance encounter as a sign of how
show I caught years ago at Gruene Hall, I have
come to respect the sound and professional
efforts of the band. What I then found myself
wondering about was the road to getting there.
I arrived at Floore’s Country Store in Helotes
RQWKHRYHUFDVW)ULGD\DIWHUQRRQWR¿QG5HFNless in the middle of sound check on the outdoor stage, and the Motorcars unloading equipment. Micky and I sat down at a picnic table
and began the loosely organized interview.
I opened with asking about details on the recent
Braun reunion based in Stanley, ID. “It started
years ago when my dad would rent out a local
dancehall for the summer and just play every
night.” This past reunion show drew over 3,000
people. “It’s become the biggest music fest in
the area. Something everyone looks forward to
every year.”
Drawing on the connection of the long-time
stage experience, I moved onto a topic that
many fans have noted regarding this group of
Here was where I stopped him, admitting I had
never heard the word before. (You can thank
me later for being the one to ask the question
that I know you’re all thinking right now.)
Anyway, he smiled. “It means to start slowly. I
just really liked the idea of that for a band. The
guys would never accept it because they always
said it sounded too much like ‘secretion.’ I can
understand that. Probably wouldn’t have liked
the sound of an audience chanting ‘secretion’ at
a show.”
After living the Phoenix life for a while, he
headed back to Stanley. As for Austin? “Reckless was already there. After living all over, it
Regarding the music and family connections, I
had to ask. “So four brothers. You all started
out in a band together. Why did you break off
into two bands? Was it a difference of interest in the sound or were you just tired of each
other by then?” Micky leaned back a little in
his seat and laughed. “Well, we spent nine
years together, riding around in a suburban so I
guess by that time, a little of both. Also, Willy
By: Rachel Taylor
Photo By Steve Circeo
and Cody were getting into playing rock music
when they moved on. I was only 13, so I was
still at home.”
,DVNHGWKHQZKDWKLVSHUVRQDOPXVLFDOLQÀXences had been that are evident in the present
sound of the Motorcars. “Steve Earle; lots of
Steve Earle. My dad Muzzy of course. Pinto
Bennett. Grahm Parsons has been huge. I
spent years playing Bob Wills stuff, too. Then
of course, all of the big ones like Bob Dylan
and The Beatles. By high school, all my friends
were getting into Metallica and AC/DC.”
I joked, “So the sound; it’s kinda AC/DC meets
Steve Earle?” “Yeah,” he laughed. “Something
like that.”
and Willy have co-written several songs together. How do you decide who gets which song?”
Micky leaned forward. “Whoever brings the
idea to the table. “Nobody’s Girl” was the only
song where we sat down without having any
ideas. When Reckless signed with Sugarhill,
they sent about 25 songs to be considered for
the album. Sugarhill picked up ten and said
they wanted one more. Willy called me up
and we sat down and came up with “Nobody’s
Girl.” And then we drank beer.” He laughed
recalling the event as reward for a job well
I noted that considering the last minute creation
of the song, it has become a favorite to fans
played, there is an immediate dose of an infectious energy which visibly shoots through the
With that, we wrapped up the interview and
it was all even more clear to me, though I had
never really doubted. The guys have talent
beyond their years. They exhibit a professionalism and respect for the fans that is not always
evident in the scene. The interview only solidi¿HGP\UHVROYHWRFRQWLQXHSD\LQJWKRVHFRYHU
charges and making the mini-road trips to catch
this group of musicians, and even endure a barbased debate now and then with the less musically sophisticated.
So yeah. That’s what I’m into.
behind the scenes
y Bill Allen
hat really happens behind the scenes in the world of the
music business? Allow me to introduce myself. I am a
drummer who has been behind the scene for many years,
and while I am well acquainted with this other aspect of live music; I am
by no means a guy that that thinks he knows it all. Rather, I am someone
who has acted as a drummer, road manager, bandleader, booking agent,
radio promoter, and in whatever capacity is needed to keep the band
anyone or any part of the music business. People ask me, “What does it
take to start a band and
get things going?” I hope
to be able to answer that
isn t always
Gracing the merch table at shows is that very CD. Is there a radio quality
song on that new CD? Now, the band picks a song then sends it to all the
radio stations across Texas. Again the band is struck by the realization
that not everyone has heard of them. A few stations like the song so they
play it. Until that music hits the Texas charts, the other stations won’t
play it. But wait! Doesn’t one get on the charts by the radio stations
playing their songs? Sounds like a catch 22 to me, and it is. Therefore,
someone is hired to promote the songs at the stations that will play it.
There is another several thousand dollars gone. Some would call that
payola, but the companies that take your money call it marketing. Whatever the band decides to call it, the music is now being heard across the
state, or at least in a few participating stations. What could have bought
new equipment was used
to get songs on the radio.
seen is the
h blood,
at, and tears that it took for
that artist to get there.”
Now you are gigging in
towns where those very
In one way or another,
songs play on the radio at
least once or twice. Receveryone starts from the
beginning. Yes, even
ognition means more CD
Garth Brooks, George
Strait, Kevin Fowler, Cross Canadian Ragweed, (the list goes on and on) the band. By now they should be able to bring the “fans” into the clubs to
started out by saying, “Hey, I can sing and play guitar. I bet I could do
make a little money. It’s very possible to spend every ounce of free time
this.” Welcome to the beginning. Find a drummer and a lead guitarist, a
advertising and promoting the shows, which in turn goes right back into
requires. So what’s the next step?
equipment failure, and making press kits to get more shows. In reality,
UHÀHFWLQJRQDOORIWKHWLPHDQGPRQH\KDYHSXWLQWRWKLVOXFN\LVEUHDNAfter all that work, what has been formed are the bones of a band. The
ing even.
sound is decent, having learned 50 or so cover tunes, and maybe even
written a few. Now, how exactly does a band get heard and maybe even
Most musicians have day jobs to support themselves and their families
make a little money? Well, the next step is to play in front of a real audi- while they play music on the weekends. I have been fortunate enough to
ence. Make some calls to a few clubs around town. What is this? No one earn a living with music alone. However, my paycheck relies not only
has ever heard of the band. It appears that some venues want to hear a
from the stage performances. I do bookings, promotions, write songs, and
anything I can think of to keep my head above water. Ask any artist out
demo of a band before they are willing to share their stage. Creating a
demo entails recording three to four songs that can then give a venue a
there why they play music and I can guarantee their answer will not be
taste of the quality of the music that an artist intends to provide. Let’s
because of the money. Though it is a love for the music that gets an artist
assume there isn’t a lot of cash to be invested in the project. Since most
started, to do it full time, one has to make a living doing it. All of it in
studios charge by the hour, it’s likely not a lot of time was spent on it
hopes that money will not get in the way of creativity.
either. However, it will be good enough to get a band booked at that tiny
little club down the road. Cody Canada once said on his “Live and Loud
So remember that when going to see live music at a local bar or danceat the Wormy Dog Saloon” album, that a guy told CCR that he could
hall, or even the largest stadium in the area, there is more to it than just
make them a $2,000 record for 400 bucks. What they got was a 400 dolthe lights, beautiful music, and the screams from the fans. What isn’t
lar record for 400 bucks.
always seen is the blood, sweat, and tears that it took for that artist to get
there. While on that stage, he or she is not thinking about the mortgage
At this early point on the road to selling out shows, there should have
being due or truck repossession. All they are thinking about is making
been countless hours devoted learning an instrument, practicing with
the fans happy and putting on one hell of a show. Some of the Nashville
artists, and even a few Texas artists, may be living comfortably with no
monetary worries at all, but I can guarantee that wasn’t the case in the
played one or two shows, probably free but the audience that has seen
beginning when he/she thought about giving such a dream a chance. The
you loves them. The small but loyal group tells their friends, then those
same is true for most of the artists seen at the local bar or dancehall. In
friends tell more friends, and the word spreads. The band is building
2004, a performance that billed Randy Rogers Band and Kevin Fowler
quite a little following. By the way, this part normally takes years to do.
together, drew only 45 paying patrons. That was 24 months ago. Those
More clubs are hearing about the sound. Maybe the band hires a bookguys or girls you see today might be selling out to 5000 or more in two
ing agent. Most agents are meticulous about who they hire so good luck
years and you can say “I saw them with 44 other people.”
on that one. Now the band is playing shows for a percentage of the door
Support local live music. Keep in mind what they have, or had to go
cover charge. It is up to the musicians to prove a crowd can be drawn if
any chance at all of making money. So, the band spends their own money through to keep the dream alive.
door. The hope is that people will be intrigued by the advertisements and Bill Allen is a Touring Drummer and is currently playing with Brian
pay to see the show.
Now it’s time to record a debut album. Again, money is tight. No major
labels will even think about looking at a small time band yet, so they
band is lucky, they play enough shows to sell the album and at least get
the money back that was spent on the recording process and duplication.
Listen to this month’s live concert of
The Randy Rogers Band in our
members only listening lounge by Joining Club TMT.
By: Linda Higbie
No Justice-The Next Big Thing
ob Childers, also referred to as one of
the grandfather’s of Red Dirt, has been
heard saying, “Do not forget a band
named No Justice.” That is a pretty good indiFDWLRQWKDWWKLVEDQGLVDVLJQL¿FDQWSDUWRIWKH
Red Dirt movement. Originating from Stillwater, Oklahoma, the members of No Justice met
through the local music scene and formed the
band in 2001. With two CDs under their belts,
No Justice has climbed the charts with hits such
as “The Toast,” “Red Dress,” and “Bend but
Don’t Break.” Their newest album, a self title
release, is produced by J.J. Lester of Stillwater’s
The Great Divide and Grammy award winning
engineer Eric Delegard.
Steve: What sets us apart from everyone else
LVRXUVRXQG:HKDYHDZLGHUDQJHRILQÀXences. Some of mine are U2, Martin Sexton,
and Counting Crows. I grew up in a small town
listening to the Opry and didn’t know about
Texas Red Dirt Music until I came to Stillwater.
You signed with Buddy Lee Attractions in
2005. How did that come about?
Steve: We were introduced to Jon Folk when
he came to a Great Divide show and we were
opening for them. He liked us and we hit it off.
Steve: Stillwater has several starting
out. I think the next big contributor is
out of Wichita Falls, though. Johnny
Cooper. He has a really good response
and is a great musician. Good things
will happen for him.
Steve, I hear you are headed to Nashville in the next couple of weeks to do
some writing there. Who are you collaborating with?
Photo Courtesy of No Justice
there is a song called “Twenty Four Days.”
Is this a musical diary about how you got
Steve: Yeah, it kind of is. No Justice had gigs
booked. They were a cover band before. We
held onto the dates and I had 24 days to learn
the songs and go out and play with them.
Which songs on your albums are your favorites to sing or play?
Steve: We like the response when we play
“The Toast.” My personal favorites are “Red
Dress,” “Breathe,” and “3 Verses.”
Within a year we were signed. Jon believed in
what we were doing and worked hard for us.
Brandon, you were in a rock band called 12
Pearls. Does your rock element contribute
more in the No Justice sound today, or is it
a direction you all consciously decided to go
Brandon: I think that the guys were looking to
go a little more rock before I joined the band,
but that being said, I think that I do also bring
that rock vibe to the group. I love being on
stage and I think I show that in the performances. When I’m feeling the music and the energy
that’s being stirred up with the crowd, I just let
myself go and get lost in the whole thing.
“Bend but Don’t Break” was really written
by George Devore, but you recorded it on
your new album. What made you decide to
cover it and launch it as your single?
You are both front men so to speak. Like
two leads in a band. How does that all work
for you? Any competition at all between you
Steve: We started playing it as a cover song
and always liked it. I used to run sound at the
by him. The song stood out. We played it and
recorded it. We didn’t decide to release it as a
single. The Ranch radio station started spinning it and it took off on its own.
Steve: It helps to be really comfortable with
someone. It helps the show’s charisma and our
personalities match. We compete with each other, but not like one might think. We know our
boundaries. We are both so active and it opens
up on the stage show. About the only thing we
compete for is the microphone. (Laughs.)
Brandon: We can read each other very well,
and that has come from performing together
Brandon: My title is more like guitar/vocals,
because Jerry and I both play lead and rhythm
guitar. That is another area where we have to
work together and bring the best to the table.
Sometimes my guitar sound and style works
for a solo, and sometimes Jerry’s does. We get
together and work out the details and we’re set.
I’m also a singer/songwriter, and I think that
it helps to have another guy that contributes to
the creativity of the band.
Do you see anybody coming out of
Stillwater behind you ready to make a
big splash into this music scene?
With a little bit of rock, a touch of funk,
a bit of a pop essence, and a lot of heart
and soul, the ten tracks on the CD have
a sound all their own. Singer/songwriter
Steve Rice, brothers Tony Payne on bass
and Jerry Payne on lead guitar, drummer Armando Lopez, and rhythm guitarist/vocalist Brandon Jackson deliver
another album of unforgettable hits. It is
no wonder their touring schedule keeps
them on the road for over 200 dates a
Recently I had the opportunity to ask
Steve Rice and Brandon Jackson a few
questions about who they are and where
they are going.
playing acoustic together ever since I was in 12
Pearls, and even before he was with No Justice.
Steve: That is not set in stone. I will be
writing with someone who writes with
the Randy Rogers Band. I need to break out
of my shell. If after three or four days it works
out, great. If not, no big deal. I am hoping for
a true collaboration. I want to expand on what
I am already doing. Fine tune the material I
already have for the new record.
How do you feel about Smith Entertainment setting you up with a “Live From Billy
Bob’s” show? When do you plan to do this?
Steve: We haven’t got a date set. It is basically
word of mouth right now. It is coming at the
right time in our career though and we are all
very excited about it.
Many think that No Justice is going to be
“the next big thing” in this music scene.
Where do you see yourselves heading?
Steve: All of us believe the same thing. We
would not be pressing as hard as we do if we
didn’t. Our sound is different and that’s a good
direction we wanted to go in. Our new one is
more of the No Justice style.
*Special thanks again to Steve and Brandon for
taking the time to sit down with me. To check
out the music of No Justice and for upcoming
show dates, visit www.nojustice.com
TmT Profile Five
Ben Danaher is one of the most MIKE AMABILE
sionist you can hear to date.
His voice is the key capture and in Houston Texas. He
was a guest columselling point to his audience.
nist in the September
2006 issue of Texas
and creative style of writing,
Music Times writDanaher can seize the attening the “From the
tion of all who listen. About
Stage Looking Back”
to Graduate from Texas State
University, Ben wants to peruse feature. Mike graduated from Sam Houshis music career on a profeston State University
sional level and never stop
and has spent time
writing. “My goal is to write
working as a ranch
songs I believe in that other
hand in Colopeople can relate to whether it
rado. It was in Colis in a relationship setting or
anything they would go through orado that he decided to look at pursuing song writing and music as a
lifestyle and career. In 2004, he formed a band named “Run Over Twice”
in life.” This determined songwriter comes from a family of musicians
and they perform a full schedule of gigs in the Houston area and around
and has played with and opened for many well know Texas artist such
Texas on a regular basis. The band has a solid country rock sound and
as Randy Rogers, Ryan Turner, The Derailers, Micky and the Motorcars,
is a crowd pleaser wherever they play. For more information on Mike
and Django Walker. Ben is also recognized highly by Kent Finley, the
Amabile and “Run Over Twice” check out www.mikeamabile.com or
renound owner of Cheatham Street Warehouse in San Marcos who gave
starts to people such as George Straight, Stevie Ray Vaughn, and Randy
Rogers. Ben Danaher is bound by hard work, talent, and determination.
Keep your eyes on this guy, he will be a star.
Check Ben out at www.myspace.com/bendanaher
Tony Taylor
is no newcomer to the
Texas music
scene. He as
been playing
live and loud
for crowds
since 1998.
Tony’s writing and music transport
the listener
to a place in
time where, why, and how the song was written. This is probably because his passion
for writing comes from within himself and
his experiences. Tony Taylor is a person who
takes to heart his everyday life and the people
very versatile way. Tony now resides in San
Marcos, Texas, where he is constantly sharpening his talent at places like Cheatham Street
Warehouse and other venues in the surrounding
area. Tony has been working diligently with
Rodney Pyeatt, one of the most well-known
guitarist in Texas, on producing and recording
some new material at Pyeatt’s “BenZin Studio”
in Bastrop. If you get the chance to listen and
meet Tony, I guarantee it will be a satisfying
experience. Check him out at www.myspace.
If you are an artist or know a great
please let us know!
Carl Slack
Carl Slack lives in Barling Arkansas just outside of Fort Smith. However, he lived for
several years in Austin where he developed his
musical skills. His latest self-produced record
titled “Turning the Worm” is a cool collection
of tunes that range from country, to hardcore
blues, to up-tempo blues. Carl is a solid songwriter and poet with his lyrics and his melodies
are a pleasurable. “Turning the Worm” is fun
record that has a non-traditional sound provided
by Carl’s unique voice and bluesy melodies.
Several songs can get a listener tapping the
foot and grooving the soul. For more information on Carl Slack or to purchase, “Turning the
Worm” check out www.carlslack.com or www.
Hailing as one
of the tallest acoustic
acts in Texas
at 6’5, Brian
Burke, not
even twentytwo years of
age yet, has
more than
most by the
age of thirty.
Along with a “big” love of music, he as heart,
soul, and plenty of personality to go around.
This is probably why he is immediately loved
by fans of all types of music and is welcomed
back to each venue he plays. Upon entering
college at eighteen, Brian has played with plenty of big Texas- Red dirt stars such as Stoney
Larue, Brandon Rhyder, Mike Eli, and Django
Walker. He enjoys the feel of an acoustic show,
the close connection with the crowd, and being
able to emphasize his lead vocals. With that in
mind, a combination of his unique writing and
collection of covers one will recognize, but has
not heard as a cover from any other band make
a night with Brian Burke, it will be worth the
while. Check Brian out at www.myspace.com/
brainburke, yes it is brain.
Mike Amabile
“Driving Away from You”
Tony Taylor
Ben Danaher
Brian Burke
Carl Slack
“Hello World”
“See Her Tonight”
“Trying to Figure Out”
“Dance accross Texas”
The Pearl of Bastrop
Venue Profile
By: Keith Howerton
he Genuine Oyster Bar, tucked away in beautiful downtown
Bastrop Texas, is about 45 minutes east of Austin on Highway
71. Also known as, the “Pearl of Bastrop” the venue is housed
in a 100-year-old building and has been a local favorite since 1985.
“Bastropians” is the common name for the locals who inhabit this
Texas music. The owner of the club, Laura Gullick, began billing
Texas music as a staple of the entertainment line up in early 2005
and continues to make improvements. Those improvements include
a larger bar, new bathrooms; artists merchandise booths, iced beer
troughs, and shot bars. Future improvements are going to focus on
band comfortably with some elbowroom for the players. Bastropian
hometown singer-songwriter Tres Womack hosts an open mic night
every Thursday and performs full band at the bar on a regular basis.
Other artists who often perform on the Pearl’s main stage include
Jeffrey Duke Patterson, Keith Davis, Jason Eady, Ryan James, Darren
Kozelsky, Texas Renegade, and Pete Benz. The bar has also hosted
many new “up and coming” Texas artists like Kimberly Kelly, Brian
Burke, Larry Hooper, Bo Cox, and Scott Matthews. The charm of the
Genuine Oyster Bar is the laid-back vibe and atmosphere. The beer
can throwing or drunken craziness that can often ruin shows in many
Texas music venues is not a problem at the Genuine Oyster Bar. Sure,
the folks have a good time but it is a great place to catch a show and
Oysters are available in all the varieties to include fresh and on the half shell. The raw delicacy has the connoisseur of the slippery creatures believing they are on the waterfront somewhere on the Gulf of Mexico. One can almost smell the salt air when partaking in a dozen or so of the recently
Texas music are regularly on the menu, and folks from out of town can even make a night of it with several hotels and motels in town to accommodate. For more information on the Pearl of Bastrop log on to www.myspace.com/genuineoysterbar.
By: Mark Tucker
bye Girl”, is receiving airplay on many
a drink one might order, in a place they have never been before,
radio stations across Texas. Jared’s
where you aren’t too sure of what is about to be served up. It could be
soulful vocals along with great song
hard and edgy in places, and smooth and soulful in others. That is exactly writing are clear and apparent with
what you can expect from the Wicked Brew Band’s second album, “Two- lyrics like, “Broke down on the side of
the road; how many miles will I have
to go; till I can’t look back and see my
Wicked Brew is made up of Jared Lightfoot, lead singer; Trey Edwards,
past.” The album has its share of great
acoustic guitar and vocals; Jimmy Durham, lead guitar; Cory Cooper,
songs about love, despair, and hope
rhythm and bass; and Jeff Blackmon on
for brighter times ahead, with songs like
drums. Trey Edwards has since left the
“The Turnaround” and “Brand New Future
band to form his own group, called Treaty Wicked Brew Band~Two Faced Heartache.”
Oak, which I’m sure we will be hearing
from in the near future. Front man Jared Lightfoot wrote the majority of
Like the album title, “Two-faced”, there is another side to Wicked Brew
the songs on the album, the others, in collaboration with Trey Edwards.
admitted to me months ago. “Some venues don’t book us, because they
Recorded at Wyatt Earp Studios, and mastered at Cedar Creek Studios
in Austin, Texas, “Two-Faced”, offers 13 great tracks, from a band that
though, if we are to compare them to other great outlaws of the Texas
Music Scene? Songs like “Redneck Space Cadet”, “Chain Smoking
came across this band, early into the summer at Smokey Wilson’s “Party Reaction”, and “Wicked Brew”, are quickly becoming anthems at the
at the Pasture”, at his ranch in Cuero, Texas. Wicked was somewhere in
Wicked Brew shows for getting the crowd into a stir.
the middle of around 20 bands that played that weekend, but they stood
out the most to me out of all the bands, and I was an instant fan.
As great as this album is, seeing Wicked Brew live, is necessary for any
Texas music fan. If you are looking for that group that isn’t a household
If one’s musical library includes groups such as Cross Canadian Ragname yet, then Wicked Brew is a band worth checking out. The album
weed, Jackson Taylor Band, and Shooter Jennings; then Wicked Brew
can be found on the Wicked Brew website, www.wickedbrew.net, as well
as www.ourtracks.com. Wicked can also be found on www.myspace.
giants Lynyrd Skynyrd, as well as Texas artists Kevin Fowler, Pear Ratz, com/wickedbrew.
and Honeybrowne.
Wicked Brew – Drink some down!
t was another Thursday night in Lawton and an excited crowd had
certainly gathered at Duvallz Southern Club. With his posse of
bouncers, club owner Mike O’Malley greeted people by permitting
them entrance at the gate. That particular evening, O’Malley and concert
promoter Woody Hodges had booked popular Texas Music artist Kevin
Fowler and his band to play a gig on the outdoor stage on what had
turned out to be a beautiful and pleasant mid-September night.
Following a set by opener Bobby
Dale, Fowler, decked out in
his Ratt T-shirt and trademark
cowboy hat, took to the stage
and along with his band and
broke into a rousing rendition of
“Loose, Loud, and Crazy”. “Cmon now, ya’ll get crazy,” Fowler said with a mischievous grin.
Of course, it got a little crazy
over the nearly two-hour set of
originals and a smattering of covers. He and his backing band of
regular-looking guys were tight
and coherent as a unit. Fowler
must have spent quite a while
looking for just the right guys to
back him up.
Throughout the show, Whitten received heaping amounts of applause
as he sawed away on his instrument. The tall man, in a western shirt
strings sing.
Fowler’s latest single, a new track titled “What I Wouldn’t do for Your
Love,” is deceptive in that it starts out slow, like a ballad before picking
up the pace with Fowler telling his woman what he won’t give up to be
with her. Kevin obviously has
the wit to play with the English
While Fowler and the band
slowed things down for dancehall ballads like “If These Old
Walls Could Talk,” featuring nice
steel work by Arty Passes, the
show was generally upbeat, comical at times, and always entertaining. If Fowler gets anything
right, it’s the fact that he loves to
keep the crowd entertained.
Photo By Mike Galloway
Hot on the heels of that song, followed the title track from his most
recent album. The Amarillo, Texas native took the band straight into the
amusing “Speak of the Devil,” which provides Fowler with an opportuQLW\WRKDPLWXSXVLQJKLVLQGH[¿QJHUVDVOLWWOHGHYLOKRUQV,IWKHUH¶V
one thing Fowler loves when he’s up on stage, it’s the silly hand gestures
and goofy mugging.
$WWKHHQGRIWKDWVRQJ)RZOHUORRNHGRYHUDW¿GGOHSOD\HU&KULV :KLWten, a local boy and Lawton High graduate and says, “Hey Chris, look at
all these girls from your hometown.” This elicited some screams of
pleasure from some of the women near the stage.
,QWKHVHWOLVWDVLJQL¿FDQWQXPber of the songs were from his
“Beer, Bait and Ammo” album,
and included “Butterbean,” and
“100% Texan,” to the album’s
redneck anthem title track. However, what was amazing was the energy
that let loose during the cover of Charlie Daniels’ Faustian rave-up “The
Devil Went Down to Georgia.” This was where Whitten really got to
shine, not to mention the other players as well.
Fowler, meanwhile, was clearly having a great time, just as he’s had during the previous gigs in southwest Oklahoma. He wants the audience to
be engaged and to join in with singing along with the lyrics, and boy did
they ever when the KFB pulled “Fat Bottomed Girls” from out of their
collective sleeves. He sang the Queen hit that has had the “rockin” world
going round” for years now. Freddie Mercury would have been proud.
y Keith Howerton
City Run’s newest CD
“Something Else” was
the result of a contest of Texas
Bands promoted by the “Texas
Country Reporter” television show. The winner of the
competition in 2005 was Hans
Frank and the band known
as 10 City Run. “Something
Else”, recorded at the superb
facilities of Keith Harter
studios in San Antonio Texas,
and produced by John Beland
is a great alt-country record. The 12 songs include a mix of songs from
Hans Frank and others including the Warren Zevon classic “Carmilita
and Tommy Duncan’s “Stay all Night”. “ Stay all Night” grooves in a
Travolta in a Nuevo Rich Los Angeles bar. The track “City of Angles”
with the hook “Just a dumb ol’ country boy” earned wide air play in
Texas and other markets to include XM’s alt-country channel. Another
notable track is Doug Sham’s “Juan Mendoza”. The tune is a contrast of
global issues confronted with the problems of everyday life presented
in a fun way. In all “Something Else” is a crafty record with excellent
production. It is not a homogenized record of average song writing to
sell lots of copies. Any country or alt-country fan will be very pleased
with “Something Else”. Give it a listen.
The Ginn Sisters-Americana with Snap
delivers acoustic guitar solos that would make any of the great masters
stop, look, and listen. Her speed on the strings in several Spanish style
and other style solos on the record are delivered
lot of buzz is generating about the talented
sister duo from Schulenburg Texas known
lightning. Brit Ginn adds diversity to the sound
as the Ginn Sisters (pronounced with a hard “G”
like “Girl or Gutsy”). That buzz, in the opinion of
have a special brand of sound that has some of
the greats listening and noticing. Willie Nelson
should be louder. This Americana team of superb
upon hearing one of their songs was quoted as
melodies and harmonies deliver an up beat and
snappy brand of Americana that has a listener
saying, “That was good, and can I hear another”.
The Ginn’s are Americana that even non-Ameritapping their toes instead of falling asleep. Their
cana fans can enjoy. The upbeat tempos make
latest release titled “Blood Oranges” has 12
for listening songs that move into rock, country,
original tracks on it written by the songwriter of
bluegrass, and blues effortlessly. The sound in
the pair Tiffany Ginn, and one track crafted by
some songs transitions without the listener realAbi Tapia. The record recently spent 12 weeks on
izing the genre has changed. It is that quality
#25 in the rankings. The duo has also spent a
that keeps the Ginn Sisters’ CD spinning in this
writer’s CD player despite not being a tremennumber of weeks touring outside of Texas with
dous Americana fan. Tiffani and Brit are a duo
shows in the Northeast including New York and
worth giving a listen repeatedly to enjoy them in
Boston. They also played for the Country Music
magazine’s showcase called Americana tonight
listeners, and not for the bar crowd. They are for
in Nashville. The amazing talent of these young
Photo Courtesy of The Ginn Sisters
true fans of musical talent with great songs that
women is diverse and wide. Their harmonies are
are fun or serious depending on the tune. If a music fan were mature and
fresh and tight without a missed note as they hold a tone together in a
way that would bring a smile to harshest of musical critics. It is in a word VRSKLVWLFDWHGLQWKHLUWDVWHRIWKH¿QHUVLGHRIWKHPXVLFDOFUDIWWKHQWKH
“beautiful” with a visual quality to the ears. However, the talent of the
Ginn Sisters would be for them. For more about this great young team
sisters does not end with the harmonies. The song writing, melodies, and check out www.theginnsisters.com.
By Keith Howerton
ZiegFest At Lake Bryan
By: Gabe Shutt
It was the biggest party of the year in Bryan Texas,
as thirteen bands stormed the two stages at the fourth
annual ZiegenBock Music Festival. An estimated
7,000 Texas music fans, college students, and locals
descended on Lake Bryan to watch their favorite
bands, mingle along the sun-dappled shores of the
lake, and relax with family and friends.
Rich O’Toole, a local favorite, kicked the show off at
2:30pm and the music didn’t stop until almost midnight as the highly anticipated Randy Rogers Band
closed the show. The shows played alternately on the
Ziegenbock Main Stage and the Bud Light Stage,
which allowed the music to continue through the day
stage amidst thunderous applause which only grew
as his set wore on. Even fans over at the Bud Light
stage, which were waiting on the Eli Young Band to
open their set, couldn’t help but sing along to perennial favorite Everclear, and Rancho Grande.
Sponsored by Ziegenbock, Budweiser, Mustang MuVLF*URXSDQG*LEVRQ*XLWDUVWKHVKRZEHQH¿WHG
the Brazos Valley Go Texan Association.
Oct. 5
Oct. 6
Oct. 7
Micky & The Motorcars/10 City Run
W.C. Clark
Mike McClure w/ Highspeed Hayride
Oct. 12
Oct. 14
Josh Owen
Brandon Rhyder w/ Jason Eady
and Austin Collins
Oct. 19
Oct. 20
Oct. 21
Carter Falco
Monte Montgomery
Walt Wilkins w/ Josh Grider
Oct. 26
Oct. 27
Oct. 28
Jarrod Birmingham
w/ Darren Kozelsky
Ruben V
Bleu Edmondson w/ Shy Blakeman
Wade Bowen at ZiegenFest
5550 Mountain Vista
San Antonio, TX 78247
(210) 655-GRILL (4745)
Loop 1604 North, Judson Rd. Exit
By: Keith Howerton
he San Antonio based band led by bass
and keyboard player Hans Frank known
as 10 City Run have a story that is an
odyssey as intriguing as Homer’s original.
Signed with major record label Universal South
in Nashville, 10 City was the winner of a “Bat-
Photo By Steve Circeo
tle of the Bands” competition in 2005 sponsored
by the “Texas Country Reporter” television
show. Part of the deal for winning was a major
record deal for 1 year that included the recordLQJRI&'DQGDOOWKHEHQH¿WVWKDWDUHFRUG
label does to promote the record. In many ways,
it is a fairy tale comes true for a band. A major
deal with promotion, marketing, distribution,
and support was in the mix. It was a dream concept. However, it did not really work out that
the plan went as it was supposed to. The band
went into the studio supported by the record
label and made a CD at Keith Harter studios
in San Antonio. The label set up distribution,
radio promotion, and they got a video produced.
in Texas and around the country including on
XM’s alternative country station. The song
charted in several locations in the top 30. The
music video debuted in the top 20 on CMT.
Everything was exactly how it is supposed to be
when a band is with a major record label except
for one small detail. They were not playing a
full schedule of shows. The tour was completely lacking. Out of the recording process, the trio
found themselves at a personal crossroads. Two
members left the band because the idea of a
big record deal was not what they expected and
Hans was left holding the cards and the bag. He
had no band to tour with, and the record label
would not delay release to get a tour schedule
together. Therefore, 10 City Run was being
played all over the country but no one could go
and see them perform. The lag in timing lasted
only a few months, but it was long enough for
the single to slip back into obscurity and the
video to go to the morgue. Now 10 City Run
has reformed with a new guitarist and drummer
and Hans is again fronting a band, but all the label support is spent. He has a solid record with
ready to tour, but that is about it. The record is
now, in all reality, an independent record and
10 City Run will have to promote it and support
it with a tour like all the other “indies” do. It
will be just as tough and hard. Some marketing value from the label release and the video
will help, but the momentum is gone. They do
have some great gigs lined up like opening for
Ray Price at the Rhyman Theater in Nashville
along with one or two other dates per month.
However, putting the pieces back together will
be a formidable challenge. The current 10 City
run story is a fable of the music industry. It is
proof of the old saying that all that glitters is not
gold and even Hans admits openly that winning
a contest was a “short cut” that in the end might
not pay off. If no dues are paid then, no lessons
are learned or experience gained on how to do
on 10 City run is far from written. The band is
good and the CD is superb. A tour will coagulate and more dates will come. That is inevitable as the sound is fresh and the songs solid.
However, this time there will be no short cuts
and it will be the hard way.
Introducing Missy Querry
with Views from the Industry
By: Missy Querry
he birth of this column comes from one of the most unexpected
times. I am sitting in a cramped seat of a Boeing Douglas MD80
at D/FW International Airport on the runway (where I have been
trapped for almost two hours) awaiting departure on a business trip to
Detroit. I began my day at the crack of dawn only to be delayed by
had scheduled, I am never a fan of boarding what I like to call “the silver
tube of death” and this little set back was not helping my mood in any
way. This got me to thinking - after almost 25 years in this industry why
do I continue - especially in the independent sector? Not wishing to dwell
on the reality of the hassle and fears of air travel today (fresh memories
of the recent anniversary of 9-11 weren’t helping the situation), I happily
remembered that I had a copy of the innaugarual issue of Texas Music
literally cover to cover. As I took in each word about the musicians and
venues from all levels of the business, the answer to my aforementioned
question became crystal clear. I continue to work in this industry (especially the independent sector) because it allows me to assist folks in
achieving their dreams. Everyone has to start somewhere and the indy
community is that place. Over the decades I have helped numerous artists
and bands - some only going as far as getting a few CD’s on the retail
shelves of their hometowns and others to become superstars. I have
worked in all genres (and still do) but, no matter what the music type the
success on any level has one common thread - PASSION - among both
the artists and the fans. Nowhere have I seen this ring more true than
within my personal genre of choice - Texas Music. Many refer to the
recent “boom” in new artists, venues and sounds as “new.” Being a native Texan I have to disagree. This passion and sound has been a force in
music since the early 70’s when Way-lon, Willie and the boys decided to
do things their way. It is more than just music. It is a culture. Call it what
you may - I choose to call it Texas Music. The bottom line is that it is a
passion that can be shared and supported by everyone , from the fan to
the industry executive to the talented artists that keep it alive. This is why
I continue to do what I do (even if it means being trapped in a plane for
that I had to become a part of it. My hopes are
that as you read this column in the months to come that some of the
shared insights from my experiences will help artists to come one step
closer to their dreams or help fans to see what it is really like for an artist
to survive in this industry. We may differ in opinions about some things
but I think that there is one thing that we can all agree upon - it is all
about the music!
Editor’s Note: Missy Querry is a pen name for a well known person
in the CD distribution business. She is a director of operations.
The Tale Behind the Tune
By: George Bancroft
I jotted it down and I said, “That sounds like a Willie Nelson song.”
That kinda far-out lyric, you know. By the time I got to San Antonio, I
had it written.
The Tune: Whiskey River
The Tale Teller: Johnny Bush
It would be very easy for a casual fan of Texas Music to assume that
“Whiskey River” was written by Willie Nelson. After all, long after I’d
gone beyond being a casual fan of the genre, I was under the assumption that Willie Nelson had written it. It’s understandable that I would.
I’d been to four of his concerts, and four times I’d seen him open his
shows banging that G chord to kick-off his rendition of the song. When
I thought of Willie Nelson– in my head, I’d hear him singing “Whiskey
River.” Then one day, I was driving east on I-10 right about that stretch
of highway between the Harper cut-off and Comfort that I refer to as
KFAN receptionville, and I heard a huge voice, other than Willie’s,
singing that very song. Now, this was about 1990, and I still had a lot
to learn about the heritage of Texas Music, so please forgive my ignorance. Shortly thereafter, I learned that the man who wrote it owned the
powerful voice I heard singing the song: Johnny
At that time, Willie had left Nashville, and he was living in Bandera,
Texas on a dude ranch that had closed for the winter. His house had
burned down in Ridgetop. At that time, I was a bigger artist, as far as
airplay and draw, than Willie was. Willie was in the big slump. This
was before Red Headed Stranger. I called him on the phone, and I
asked him what he thought of the song.
He said, “Well, I love it.”
And I said, “Well, I’m gonna put it with your publishing company,”
Nelson, there wouldn’t have been a Johnny Bush. I felt like I owed him
something. I’d just signed with RCA and at that time, he had just left
RCA and was between labels. It was just before he went with Atlantic
I said, “One thing that bothers me about this—it
only has one verse and one chorus. Do you think I
need to write a second verse?”
later, I found myself producing and hosting a radio
show of my own invention that focuses its attenWLRQRQ7H[DVDI¿OLDWHGVLQJHUVRQJZULWHUVDQGWKH
music they make. See, I’m of the opinion that you
church. Singing well just isn’t that tough a trick.
Many folks can sing very well, but writing a good
song... that’s a whole other affair. Writing a good
song that has endured for almost forty years, that’s
He said, “I don’t think so. You’ve said it all.”
I found him by telephone at his home in San Antonio back in January of ‘05, shortly after the release
of his CD Honky Tonic. As luck would have it, “Whiskey River”
was on the album, and even better, the song was a duet with Willie. I
learned that although Willie didn’t write the song, he did have a hand in
its development. I asked one question and let Johnny tell the tale.
Can you remember where you were and what you were doing when
you wrote that tune?
I sure can. It was back in the days when we had the disc jockey convention in Nashville every year, and I think it was in October or November.
This was in the late sixties or early seventies, and I had just signed
with RCA, and I went to the convention that year to meet with the man
who was going to be my record producer. His name was Jerry Bradley
who was the son of Owen Bradley who was over the Decca thing. Jerry
Bradley was going to be a producer for RCA, and his boss would be
Chet Atkins.
I was to be on the largest label in the world. I really was. I was really
proud of that. He (Jerry Bradley) said, “Well, all we gotta do now is to
get you to write a song.” And I said, “You mean to tell me with all the
songwriters that are available to us here in Nashville like Harlan Howard and Willie Nelson and Hank Cochran and Bill Anderson (I need to
write a song)? He said, “Yea, I know. We got all those songs too, but
And I thought, “Oh Boy!”
So after the convention, goin’ back to Texas, we had a date in Texarr
kana, and I woke up with just a line in my head: Feeling the amber
And his opinion means a lot to me because to me,
he is the greatest songwriter. I compare him to
Fred Rose and Hank Williams and Floyd Tillman
and Leon Payne. I think Willie . . . he had a differr
ent twist, you know? Willie actually changed the
way people were writing songs, and I had a lot of
respect for him. He had some great hits. To me, he’s
my all-time favorite writer, so his opinion means a
lot to me.
He said, “What I would do . . . I would sing it, have the band turn it
around, and I’d sing it again. That’s exactly what I did.
It was a number one song for me, and then he later recorded it for
Atlantic Records, and since that day he’s recorded it, last count, about
recorded it together. We’ve sung it together many times on these shows,
ferent beat. There’s quite a difference in the way I did it and the way
he did it. Evidently, he’s been more successful with it than me because
he’s sold a heck-of-a-lot more records on it than I have, but your true,
traditional country fans, they still prefer mine. But like I say, you can’t
argue with the numbers, so we thought it would be fun to do his version
and that’s how it was done.
I think the thing I’ll remember about the tale behind “Whiskey River”
is that little piece Johnny Bush shared about putting the song with Willie Nelson’s publishing company. He didn’t have to do that. In retrospect, he would have made a lot more money had he formed his own
publishing company, which the last time I checked takes about forty
minutes and forty dollars. I still have a lot to learn about the heritage of
Texas music, not because I need to but because I want to. Much of it is
trivial in some respects, but there’s nothing trivial about doing the right
thing for a friend.
George Bancroft Lives in Big Springs, Texas and has a local radio
show called The Tales Behind the Tunes. He can be heard at KBST
Autumn Boukadakis~Sugar Cane~
CD Review
By: Elise E. Tschoepe
utumn Boukadakis
is a master of her art.
With her new CD
“Sugarcane,” she proves
her talent at combining
many different genres all
on one CD, yet maintains
DXQL¿HGVRXQG³6XJDUcane” is bluesy, soulful,
and goes straight to the
heart of her sound. In
a genre of music where
female artists usually don’t
get their fair share of the credit, Autumn’s talent doesn’t ask for your
attention—it demands it. I had the opportunity to hear Autumn perform
once at Gruene Hall and I’ve been waiting ever since for a CD to come
“Get A Little High” explores the feelings that should be familiar to
almost all. It puts to words to the memories of those times in life where
you go out and do the crazy reckless things your parents spent your
whole life telling you not to do. While doing them you hesitate and
think “well maybe I shouldn’t.” Autumn’s insight delivered through the
song is this:
“So you get a little restless and you get a little wasted
It’s just a little light entertainment
Embrace it, It might just save your life”
The song speaks to us because we all know that time in our life; most of
us have it then move on and life is ok.
“Up and On My Way” was written by Walt Wilkins and Liz Rose. A
beautiful tune about knowing there “is something going on here bigger
than me, that I can’t wait to see, so I’m up and on my way.” Brilliant
lyrics carry all the way through. The title track “Sugar Cane,” written
me to immediately reason that I had to have the CD. The song describes
the event of sneaking out with her sister in their Sunday clothes to acquire some of the forbidden sugar cane. “Mother may punish, but father
still doesn’t know.” It has catchy lyrics, but it is the reggae rhythm and
the soul of her voice in this song that will really grab you.
“Bright Eyes” is a beautiful song written by Autumn that really pulls at
any girl’s heart strings. Speaking to the emotional crossroads of learning to be more than just a daddy’s girl, she aptly expresses that very
Bruce Robison, addresses those nights when you don’t want to go home
because of the possibility that “anything might happen tonight.” The
concept is appealing because we all enjoy those nights and long for
them to come again when they are gone.
“On The Rise” is a track that is the cumulative product by Walt Wilkins,
Autumn, and Alex Weeden. This song is an indication of things to
come. Autumn Boukodakis is an artist on the rise and on her way!
“Go On,” written by Autumn, has all the ingredients for a soulful tearMHUNHUDVLWFHQWHUVRQWKHWKHPHRIUHÀHFWLQJRQWKHORVVRIDORYHGRQH
who has passed on. Beautiful in delivery, it really incites the urge to
Autumn Boukadakis exhibits a talent for songwriting and delivery
which makes for an entertaining live show experience and a foundation
for a very promising career. Be sure to support this rising artist by picking up her new CD “Sugarcane,” and checking out upcoming tour dates
at your local venues.
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